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V 


COPYRIGHT  DEPOSIT. 


Scanned  from  the  collections  of 
The  Library  of  Congress 


Packard  Campus 
for  Audio  Visual  Conservation 
www.loc.gov/avconservation 

Motion  Picture  and  Television  Reading  Room 
www.loc.gov/rr/mopic 

Recorded  Sound  Reference  Center 
www.loc.gov/rr/record 


3- 


Hope  Hampton 


Photograpl 


i  nvnr-n  a  t 


IWasJshamed  of  My  Hands 


EVERY  time  I  took  off  my  gloves  in  the  presence  of 
others,  I  became  embarrassed.  I  imagined  everyone 
noticed  my  hands.  I  could  just  hear  them  saying  to 
one  another,  "how  red  her  hands  are."  My  friends  who 
knew  I  played  the  piano  quite  well,  often  wondered  why 
I  never  wanted  to  play  in  company. 

I  frequently  attended  house  parties  where  cards  were 
played  and  only  when  there  was  no  other  way  out  of  it 
would  I  consent  to  play. 


But  what  was  I  to  do?  Cooking 
and  baking  had  to  be  done- 
dishes  must  be  washed — the 
house  had  to  be  dusted — and 
while  I  enjoyed  doing  housework, 
I  dreaded  the  effects  to  my  hands. 
The  more  I  washed  them  the  red- 
der they  seemed  to  become.  I 
tried  to  use  powder  but  it  came 
off  too  quickly.  I  tried  other 
remedies,  but  nothing  helped. 
One  day  a  friend  told  me  of 
Derma  Viva.  She  induced  me  to 
try  a  bottle.   I  did — and  as  if  by 


magic  my  reddened  hands  became 
a  beautiful  white  instantly.  It 
was  almost  uncanny — just  to 
apply  a  little  bit  of  Derma  Viva, 
and  convert  my  coarse  looking 
kitchen  sink  hands  into  dainty 
whiteness. 

Well,  to  say  that  I  am  pleased,  is 
putting  it  too  mildly.  I  am  more 
than  delighted,  for  that  feeling  of 
self  consciousness  is  gone.  I  feel 
at  home  and  at  ease  everywhere. 
Thanks  to  Derma  Viva. 


Face,  Neck,  Arms  and 
Hands  Become  White 
Instantly 


How  often  have  you  wished  for 
something  that  would  take  the 
redness  from  YOUR  hands — 
something  that  would  cover  up 
the  effects  of  sallow  skin — brown 
neck  and  sunburn ! 
Ordinary  powder  cannot  begin  to 
accomplish  the  same  results  as 
Derma  Viva.  Powder  is  trouble- 
some to  use  and  must  be  put  on 
continuously. 

Derma  Viva  has  been  the  favorite 
skin  whitener  of  the  theatrical 
profession  for  over  20  years. 
The  exacting  demands  of  stage 
make-up,  exposed  as  it  is  to  foot- 
lights and  spot-lights,  has  been 
definitely  and  satisfactorily  an- 
swered with  Derma  Viva. 


Add  a  touch  of  loveliness  to  your 
appearance  by  using  Derma  Viva. 
While  it  is  particularly  needed  by 
women  who  have  dark  or  sallow 
skin,  it  is  also  being  used  by 
thousands  of  women  in  place  of 
the  powder  puff.  It  is.  less 
bothersome  and  more  dependable. 
Derma  Viva  is  sold  at  all  drug 
and  department  stores  or  at  any 
other  stores  that  carry  beauty 
preparations.  The  price  is  al- 
ways the  same — 60c  for  a  gen- 
erous-sized bottle. 

For  the  convenience  of  those 
who  cannot  obtain  Derma  Viva 
at  their  dealers,  we  will  ship  di- 
rect, postpaid  upon  receipt  of  60c. 


Dermal  Company 


608  SOUTH  DEARBOi  i 


HCAGO,  ILL. 


Derma -Viva  Whitens  the  Skin 

at  once  —  or  your  money  back 


FOR  THE  FACE 


BACK  OF  NECK 


HANDS  ""ARMS 


A  little  Derma  Viva 
placed  on  a  small 
sponge  and  applied 
to  the  face  then 
wiped  before  prep- 
aration dries, 
whitens  the  skin 
instantly. 


Have  that  feeling  of 
security  in  the 
knowledge  that 
those  behind  you 
will  admire  the 
whiteness  of  the 
neck. 

Derma  Viva  con- 
verts coarse,  red 
rough,  and  dark  col- 
ored hands  and  arms 
into  a  beautiful, 
milky  whiteness. 
Especially  useful 
when  you  wear  a 
short  sleeved  and 
low  necked  dress. 

A  real  need  with 
the  decolette  gown. 
Does  away  with  the 
necessity  of  applying 
powder  frequently. 
Derma  Viva  stays 
on. 


FOR  EVENING 


.  AT  ALL  DRUGGISTS 

or  Send  Direct 


SCMEENLAND 


2.7  ^ 
7S1 


The  Most  Daring  Booh 
Ever  Written  ! 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  book  that  should  be  read  by  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
— it  is  a  penetrating  searchlight  fearlessly  turned  on  the  most 
intimate  relations  of  men  and  women.  Read  below  how  you  can 
get  this  daring  book  at  our  risk  —  without  advancing  a  penny. 


T7£  7  ILL  you  marry  the  man 
*  *  you  love,  or  wiil  you  take 
the  one  you  can  get? 

If  a  husband  stops  loving  his 
wife,  or  becomes  infatuated  with 
another  woman,  who  is  to  blame 
— the  husband,  the  wife,  or  the 
"other  woman?" 

Will  you  win  the  girl  you  want, 
or  will  Fate  select  your  Mate? 

Should  a  bride  tell  her  husband 
what  happened  at  seventeen? 

Will  you  be  able  to  hold  the 
love  of  the  one  you  cherish— or 
will  your  marri  age  end  in  divorce? 

Do  you  know  how  to  make  people  like  you? 

IF  you  can  answer  the  above  questions — 
_  if  you  know  all  there  is  to  know  about 
winning  a  woman's  heart  or  holding  a 
man's  affections — you  don't  need  "The 
Philosophy  of  Love."  But  if  you  are  in 
doubt — if  you  don't  know  just  how  to 
handle  your  husband,  or  satisfy  your  wife, 
or  win  the  devotion  of  the  one  you  care 
for — then  you  must  get  this  wonderful 
book.  You  can't  afford  to  take  chances 
with  your  happiness. 

What  Do  YOU  Know 
About  Love? 

DO  you  know  how  to  win  the  one  you 
love?  Do  you  know  why  husbands, 
with  devoted,  virtuous  wives,  often  be- 
come secret  slaves  to  creatures  of  another 
"world" — and  how  to  prevent  it?  Why  do 
some  men  antagonize  women,  finding  them- 
selves beating  against  a  stone  wall  in  affairs 
of  love?  When  is  it  dangerous  to  disregard 
convention?  Do  you  know  how  to  curb  a 
headstrong  man,  or  are  you  the  victim  of 
men's  whims? 


What  Every  Man  and 
Woman  Should  Know 


—how  to  win  the  man 

you  love, 
-how  to  win  the  girl  you 

want. 

-how  to  hold  your  hus- 
band's love, 
-how  to  make  people 

admire  you. 
-why  "petting  parties" 

destroy   the  capacity 

for  true  love, 
-why   many  marriages 

end  in  despair, 
—how  to  hold  a  woman's 

affection, 
-how  to  keep  a  husband 

home  nights, 
-things  that  turn  men 

against  you. 
-how  to  make  marriage 

a   perpetual  honey 

moon, 
-the  "danger  year"  of 

married  life. 


— how  to  ignite  love — 
how  to  keep  it  fiarr.i-i 
. — how  to  rekindle  it 
If  burnt  out. 

—how  to  cope  with  the 
"hunting  instinct"  in 
men. 

— how  to  attract  people 
you  like. 

— why  some  men  and 
*  women  are  always  lov- 
able, regardless  of  age. 

— are  there  any  real 
grounds  for  divorce? 

— how  to  increase  your 
desirability  in  a  man's 
eye. 

— how  to  tell  if  someone 

really  loves  you. 
— things    that    make  a 

woman    "cheap"  or 

"  common. " 


Do  you  know  how  to  re- 
tain a  man's  affection  always? 
How  to  attract  men?  Do  you 
know  the  things  that  most  irri- 
tate a  man?  Or  disgust  a  woman? 
Can  you  tell  when  a  man  really 
loves  you — or  must  you  take 
his  v/ord  for  it?  Do  vou  know 
what  you  MUST  NOT  DO  un- 
less you  want- to  be  a  "wall 
flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that 
make  women  like  you?  Why  do 
"wonderful  lovers."  often  be- 
ELINOR  GLYN        come  thoughtless  husbands  soon 
The  Oracle  of  Love"     after  marriage— and  how  can 
the  wife  prevent  it?  Do  you  know  how  to 
make  marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places  a 
magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.'No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty, 
deep  sincerity,  and  resolute  courage.  But 
while  Madame  Glyn  calls  a  spade  a  spade 
— while  she  deals  with  strong  emotions 
and  passions  in  her  frank,  fearless  man- . 
ner — she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book 
can  safely  be  read  by  any  man  or  woman. 
In  fact,  anyone  over  eighteen  should  be 
compelled  to  read  _"The  Philosophy  of 
Love";  for,  while  ignorance  may  some- 
times be  bliss,  it  is  folly  of  the  most  danger- 
ous sort  to  be  ignorant  of  the  problems  of 
love  and  marriage.  As  one  mother  wrote  us: 
"I  wish  I  had  read  this  book  when  I  was  a 
young  girl — it  would  have  saved  me  a  lot 
of  misery  and  suffering. " 

Certain  shallow-minded  persons  may 
condemn  "The  Philosophy  of  Love."  Any- 
thing of  such  an  unusual  character  generally 
is.  Cut  Madame  Glyn  is  content  to  rest  her 
world  wide  reputation  on  this  book — the 
greatest  masterpiece  of  love  ever  attempted ! 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Philosophy  of  Love."  Simply 
fill  out  the  coupon  below — or  write  a  letter 
— and  the  book  will  be  sent  to  you  on  ap- 
proval. When  the  postman  delivers  the 
book  to  your  door — when  it  is  actually  in 
your  hands — pay  him  only  $1.98,  plus  a 
few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content — read 
it  from  cover  to  cover — and  if  you  are  not 
more  than  pleased,  simply  send  the  book 


Q/te  PHILOSOPHY 
OF  LOVE 

Jry  ELINOR  GLYN 

-     ^/  jluthtrof'ThruWetks 


WARNIN  Q!¥/ 

The  publishers  do  not  care  to  send  "The  Phi . 
losophy  of  Love"  to  anyone  under  eighteen 
years  of  age.  So,  unless  you  are  over  eighteen, 
please  do  not  fill  out  the  coupon  below. 


back  in  good  condition  within  five  da 
and  your  money  will  be  refunded  instant! 

Over  75,000,000  people  have  read  Elin 
Glyn's  stories  or  have  seen  them  in  t 
movies.  Her  books  sell  like  magic.  "T 
Philosophy  of  Love"  is  the  supreme  culn 
•  nation  of  her  brilliant  career.  It  is  destineu 
to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  ex- 
ceedingly difficult  to  keep  the  book  in  print. 
It  is  possible  that  the  present  edition  may 
be  exhausted,  and  you  may  be  compelled 
to  wait  for  your  copy,  unless  you  mail  the 
coupon  below  AT  ONCE.  We  do  not  say 
this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupon 
NOW.  Mail  it  to  The  Authors'  Press, 
Auburn,  N.Y.,  before  it  is  too  late.  Then 
be  prepared  to  read  the  most  darins  book 
ever  written! 


The  Authors'  Press,  Dept.  391,  Auburn,  N.  Y. 

Please  send  me  on  approval  Elinor  Glyn's  master- 
piece, "The  Philosophy  of  Love."  VV  hen  the  post- 
man delivers  the  book  to  my  door.  I  will  pay  him 
only  Jl.pS,  plus  a  few  pennies  postage.  Itis  under- 
stood, however,  that  this  is  not  to  be  considered  a 
purchase.  If  the  book  does  not  in  every  way  come 
up  to  expectations,  I  reserve  the  right  to  return  it 
any  time  within  five  days  after  it  is  received,  and 
you  agree  to  refund  my  money. 


De  Luxe  Leather  Edition— We  have  prepared  a  Limited  Edi- 
uon,  handsomely  bound  in  Royal  Blue  Genuine  Leather  and 
Lettered  in  Gold,  with  Gold  Tops  and  Blue  Silk  Markers.  No 
expense  spared— makes  a  gorgeous  frit c.    If.  you  prefer  this 

leather  e'lition--as  most  people  ao— simply  siftn  below.    ,  , 

place  a  cross  in  the  tittle  square  at  the  right,  and  pay 


the  postma 


nly  S2.98  plus 


■stage. 


I 

i  Name. 
I 
I 


I  Address. 
I 


(Write  your  name  and  address  In  pencil) 


City  and  State  

IMPORTANT— If  it  Is  possible  that  you  rosy  not 
be  home  when  postman  calls,  send  cash  In  advance. 
Also,  if  vou  reside  outside  the  V.  S.  A.,  payment 
must  be  "made  in  advance-  Regular  Edition,  S..12. 
1  eather  Edition.  $3.12. 


uvi  ib  iy^4  «,  uidouo^ 


cj-fxd  dndejiendent  Screen  Magazine 


OCTOBER.  1924 


VOL.  X.  NO.  I 

   WSite 


Eliot  Keen,  Editor 


CONTENTS  FOR  OCTOBER 


With  Art  Features  from  the  Studio  of  Alfred  Cheney  Johnston. 


COVER— Hope  Hampton.    Photographed  in  colors  by  Lejaren  a  Hiller 


By  M 


s  Vee  Dee 


ASK  ME — An  Answer  Page  of  Information 

Constructive  Criticism — Prize  Letter 
Marguerite  Maxwell — A  portrait 
Mildred  Klaw — A  portrait 

jANEWlNTON — A  portrait 

Helen  Costello — A  portrait 
The  Extra  Girl — A  poem.  By  Gayne  Dexter 

Decoration  by  Robert  Patterson 
Editorials.    By  Myron  Zobel 
Could  You  Qualify  As  An  Extra?  By  the  Editor 
Norma  Shearer — A  portrait 
Mae  Marsh — A  portrait  .... 
Where  Beauty  Serves.    By  Anne  Austin 
He  Can  Tell  at  a  Glance.  By  Delight  Evans 
Port  of  Missing  Directors.    By  Gayne  Dexter 
Rags  to  Riches.   By  Grace  Kingsley 
The  Life  of  an  Extra  Girl.   As  told  to  Anne  Austi 
Puzzles.     By    The    Stars  .... 
How  Is  the  Supply  of  Girls  Holding  Out? 
Who  Pays  for  Their  Clothes?  By  Paula  Gould 
New  Screenplays.   By  Delight  Evans 
Reviews  of  Current  Screenplays.  By  Martin  B.  Dickstein 
Pre- Showing  of  Feature  Films 
NOTHING  To-Day.  By  Hamilton  Thompson 

Illustrated  by  A.  J.  Trembath 

Peggy   Shannon — A  portrait 
Martha  Albert — A  portrait 
Hazel  Donnelly — A  portrait 
Ruth  Wilcox — A  portrait 
APPLE  SAUCE.      By  Robert  Cyril  O'Brien 
DRAMALAND.    By  Myron  Zobel       .    .  . 
GOSSIP  From  SCREENLAND.   By  Jacqueline  Logan,  Mae  Busch,  Billie 

Kingsley,  George  W.  Marion,  H.  B.  K.  Willis 
Searchers  in  the  Dark.  By  Rose  Gleason 

Illustrated  by  Eugene  M.  Frandzen 


Dove 


Grace 


Published  monthly  by  Magazine  Builders  Inc.,  at  145  West  57th  Street,  New  York,  N.  Y.,  U.  S.  A. 


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J.  Thomas  Wood,  Pres.  Copyright  1924.  Trade  Mark  regis- 
tered. Single  copies  25c;  subscription  price.  United  States 
and  Canada,  $2.50  a  year;  foreign,  $3.50.  Entered  as  second- 
class  matter.  November  30,  1923,  at  the  Pos  tOffice  at  New  York, 
N.  Y.,  under  the  Act  of  March  3,  1879.  Additional  entry  at 
Long  Island  City,  N.  \.  Permission  to  reprint  material  must 
be  secured  from  the  publishers.     General  Executive  and  Editorial 


Offices  at  145  West  57th  Street,  New  York,  N.  Y.  Western 
advertising  offices  at  30  North  Dearborn  St.,  Chicago,  Ih.;  1004 
Coca  Cola  Bldg.,  Kansas  City,  Mo.  Publishers  also  of  l?eal  Life 
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year.  Single  copy  25  cents  each.  Club  rate  for  the  two  maga- 
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2 


SCMEENLAND 


NOVEMBER  ISSUE  OF 

SCREENLAND 

fwill  have  a  real  Special-num- 
ber flavor: — An  elaborate  pre- 
sentation of  the  pictures  to 
come  and  the  current  pictures, 
with  the  Review  Departments 
and  Gossip  Departments  pre- 
senting all  the  latest  news  of 
the  plays  as  well  as  the  players. 


COMEDIAN 


The  November  Issue  will 
have  special  stories  concern- 
ing the  leading  comedians  of 
the  Screen. 


AN  INTERESTING  FEATURE 
WILL  BE  A 

$500.££ 

i  RIZE  OFFER 

Harold  Lloyd  will  award  the  prize  and 
the  conditions  and  requirements  will  be 
set  forth  in  detail  so  that  each  reader 
may  compete. 

Charlie  Chaplin  is  one  of  the  few  men 
on  the  screen  whose  popularity  never 
wanes.  The  public  is  actually  impatient 
to  see  his  next  comedy — what  this  will  be. 
An  exclusive  story  from  Mr.  Chaplin's 
studio  will  be  a  feature  of  the  November 
SCREENLAND. 

Personality  stories  of  other  comedians 
and  players  will  bring  the  reader  into 
touch  with  these  charming  and  success- 
fid  players  and  will  add  to  the  pleasure 
received  from  their  films. 

Jackie  Coogan  has  been  photographed 
by  the  new  color  photography  method 
perfected  by  Lejaren  a  Hiller  and  this 
unusual,  intimate  portrait  shows  Jackie, 
not  as  some  artist  wishes  you  to  see  him. 
but  as  he  actually  is  and  makes  a  beau- 
tifid  cover  for  the 

NOVEMBER 

SCREENLAND 


New  Way  to  Reduce 
Waist  and  Hips 

Almost  Instantly! 

At  last!  The  logical  way  to  reduce  waist  and  hips!  Just 
Tirhat  you  have  been  seeking.  No  dieting!  No  exercising! 
No  old  fashioned  methods.  All  you  do  is  wear  this  amaz- 
ing girdle.  The  results  will  speak  for  themselves.  You 
will  simply  be  delighted! 

Look  Slender  while  Getting 
Thinner  Day  by  Day!  SH^Sfffi 

Erovement  the  very  first  day  you  wear  this  amazing  girdle. 
No  more  corsets.  This  girdle  acts  upon  the  waist  and  hips 
just  as  would  a  high  priced  masseur.  The  gentle  constant 
massaging  of  the  waist  and  hips  reduces  the  flesh;  makes 
ihe  tissues  firm,  and  gives  the  form  that  fashionable  slen- 
derizing shape  that  women  long  for.  There  is  no  binding 
or  pressure  of  any  kind,  bu:  surely  and  rapidly  its  action 
gives  such  amazing  results  that  you'll  hardly  believe  it. 

Our  Plan  Brings  You  this  Amaz- 
ing Girdle  at  the  Remark- 
able  Low  Price  of  $  Jg  0g 


That  is  all  you  pay!  We  have  made  the 
price  within  the  reach  of  every  woman 
just  to  introduce  this  remarkable  new 
reducing  girdle.  We  want  you  to  try  it  so  that  you'll  rec- 
ommend it  to  all  your  friends.  The  reducing  girdle  is  made 
from  pure  para  rubber  covered  on  outside  with  fine  mer- 
cerized cotton.  It  has  a  feature  no  othergirdleof  this  kind 
has.  As  soon  as  the  reducing  girdle  reduces  the  flesh,  there 
is  an  adjustment  which  allows  you  to  tighten  up  the  girdle 
so  that  it  will  continue  to  work  efficiently.  It  also  has 
stocking  supporters. 

MADAME  BESS 


Reduce 
Your  Bust 

This  wonderful  bust  reducer 
acta  on  the  tissues  of  the  bust 
just  as  our  reducing  girdle  acts 
on  the  waist  and  hips.  It  bears 
the  same  guarantee  and  is 
priced  very  low  at  S3. 98.  Send 
no  money,  only  give  us  your 
name  and  address,  and  mea- 
surements at  A,  B  and  C  (see 
sketch  at  right) .  This  bust  re- 
ducer is  made  of  the  very  finest 
materials,  lined  with  the  pure 
para  rubber  and  the 
make  on  it  will  not  (f* 
last  long.  The  A 
quantity  is  limited  ▼ 
so  send  your  order 
in  right  NOW. 


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Columbine.  Barbara  La  Marr  just  now 
is  causing  much  fluttering  at  the  Green- 
wich Inn,  Connecticut,  where  she  saun- 
ters through  the  hotel  lobby,  always  ac- 
companied by  her  little  colored  maid.  I 
noticed  her  registration  in  the  guest  book 
there.  Most  imposing:  "Miss  La  Marr, 
maid,  hairdresser  and  chauffeur."  But 
you  can  do  that  when  you  earn  $3,500  a 
week.  Barbara's  brain  is  certainly  not  a 
stuttering  one.  She  was  a  scenario  writer 
before  becoming  an  actress,  and  when  she 
suggests  a  change  in  continuity — as  most 
stars  like  to  do— results  generally  prove 
the  wisdom  of  that  suggestion. 

Clara  Halliday.  Glenn  Hunter  is  to  re- 
turn to  the  legitimate  stage  in  a  new  play 
in  the  Fall.  He  is  at  present  working  on 
"Merton  of  the  Movies,"  with  Viola 
Dana  as  co-star.  Can't  imagine  anyone 
else  as  Merton,  can  you? 

Lew  Cody  Fan.  Well,  I  don't  wonder 
at  your  admiration  for  Lew;  he  is  hand- 
some, awfully  popular,  and  a  good  all- 
round  sportsman.  Nora  Bayes  will  be 
his  second  wife,  Dorothy  Dalton  was  the 
first  "Mrs.  Lew."  Miss  Bayes  has  pre- 
maturely white  hair,  shingled.  She  is 
bubbling  over  with  good  humor  and  kind- 
liness, has  adopted  three  children,  and  if 
you  heard  her  tell  of  them  as  I  did,  one 
day,  you'd  be  perfectly  certain  that  there 
aren't  any  other  kiddies  in  the  world.  So 
Lew  becomes  a  foster-poppa.  Lucky 
kids! 

Toledo  Belle.  As  Shakespeare  said, 
"What's  in  a  name"  anyway?  The  Dolly 
Sisters  are  not  now  on  the  screen.  Rop- 
zika  played  with  Lillian  Gish  in  a  picture 
called  "The  Lily  and  the  Rose,"  a  Grif- 
fith Fine  Arts  Production,  about  ten 
years  ago.  And  both  sisters  were  in  an- 
other Triangle  film.  Can't  recall  the  name. 
The  girls  are  American  born  of  Polish 
extraction.  They  are  good  dressers,  al- 
ways in  the  height  of  fashion  and  in  ex- 
quisite taste.  The  latest  fad  they  have 
brought  from  Europe  is  to  go  stocking- 
less.  But — if  winter  comes  can  calves 
keep  warm  behind? 

Connie  M.  Mrs.  Valentino  has  been 
known  under  a  variety  of  names,  among 
them:  Winifred  O'Shaunessy,  Winifred 
Hudnut,  de  Wolfe,  and  now  Natacha 
Rambova.  She  met  Rudolph  in  Califor- 
nia. Not  content  with  just  being  Rudy's 
wife,  the  fair  Natacha  assists  in  design- 
ing the  sets  for  his  plays.  She  is  artist, 
dancer  and  now  author  of  the  first  story 
that  Rudolph  will  screen  for  Ritz- 
Carlton. 


World-wide.  Kathleen  Key  is  now  in 
Italy  waving  the  Star-Spangled  Banner 
that  her  ancestor  Frances  Scott  Key  sang 
about.  Kathleen  plays  in  "Ben  Hur"  and 
in  off-stage  moments  has  been  captured 
by  the  Facisto — or  rather  one  of  them. 
Would  you  call  him  a  muscle  in  Mus- 
solini's arm?  She  writes  me  that  she  is 
afraid  he  may  decide  to  pursue  her  to 
Hollywood,  and  what  he  might  do  when 
her  various  admirers  here  gathered 
around,  has  her  guessing. 

Irisher.  There  are  four  Moore  broth- 
ers: Tom,  Owen,  Matt  and  Joe — a  four- 
leaf  shamrock,  bedad!  Tom's  latest  pic- 
ture is  "Dangerous  Money,"  wherein  he 
supports  the  orchid-like  Bebe  Daniels. 
Matt  is  cast  with  Patsy  Ruth  Miller  both 
on  the  screen  and  any  days  Patsy  Ruth 
has  time  to  worry  with  men.  Joe,  the 
youngest  and  least-known  of  the  famous- 
four,  is  in  "The  Wages  of  Virtue,"  a 
Gloria  Swanson  picture,  directed  by 
Allan  Dwan. 

Mills  Ranger.  It  wasn't  Lois  Wilson 
who  decided  that  the  fashion  of  her  nose 
was  of  the  wrong  period.  Perhaps  you 
mean  Helen  Ferguson.  Lois  returned 
from  Europe  around  August.  While 
away  she  had  a  husband  thrust  upon  her, 
but  assures  one  and  all  it  isn't  true,  even 
though  the  man  may  wish  to  be.  Val- 
entino has  now  finished  his  contract  with 
Paramount.  Dagmar  Godowsky,  Helen 
D'Algy,  Nita  Naldi  and  Louise  La 
Grande  were  some  of  the  tangoish  ladies 
who  assisted  the  sheik.  The  names  read 
like  a  grand-opera  cast.  Must  find  out 
if  the  director  talked  Esperanto  to  make 
himself  understood. 

Martin  Chuzslewit.  Constance  Ben- 
nett is  the  eldest  daughter  of  Richard 
Bennett,  the  actor.  She  has  two  sisters. 
Barbara  is  on  the  stage  and  was  in  "The 
Dancers"  with  her  father  while  the 
youngest  girl  is  at  college.  Adrienne 
Morrison,  their  mother,  is  at  present 
playing  in  the  Grand  Street  Follies  at  the 
Neighbourhood  Playhouse,  New  York. 
Constance's  work  in  "Cytherea"  placed 
her  right  at  the  top  in  the  movie  world. 

Dayton,  O.  Lillian  and  Dorothy  Gish 
have  returned  to  the  IL_S.  A.  Lillian 
denies  vehemently  that  she  is  contem- 
plating marriage  although  Dorothy  sets  a 
happy  example  of  matrimony  with  James 
Rennie,  the  fascinating  actor.  Mr.  and 
Mrs.  Rennie  have  a  lovely  apartment  in 
Gramercy  Park,  the  quaint  section  of 
New  York  near  Greenwich  Village  where 
celebs  drop  in  to  celebrate  Dorothy's 
homecoming. 


SCMEENLANF 

Interested.  Conway  Tearle's  brother 
is  Godfrey  of  that  ilk.  Godfrey  is  due 
in  New  York  this  Fall,  to  play  on  the 
legitimate  stage  in  "The  Fake."  Con- 
way married  Adele  Rowland,  musical 
comedy  queen.  Third  wife,  I  believe. 
They  live  in  Hollywood  now,  where  Con- 
way has  incorporated  himself. 

Joyous  One.  You  ask  who  is  least 
temperamental  of  all  stars.  Let  me  nomi- 
nate Claire  Windsor  who  when  in  the 
Sahara,  where  dust  storms  are  plentiful 
and  dirt  reigns  supreme,  where  tempers 
and  dispositions  show  at  their  best  or 
worst,  remained  always  her  cool,  delight- 
ful blonde  self,  always  cheery  and  never 
grouchy.  She  has  just  completed  '"Born 
Rich." 

Spotlight.  Irene  Rich  is  the  mother 
of  two  very  jolly  daughters.  She  was 
born  in  Buffalo,  N.  Y.,  educated  at  St. 
Margaret's  Girls  School.  Miss  Rich 
played  the  part  of  Fanny  Randon  in 
'  Cytherea,"  and  Alma  Reubens  was  Sa- 
vina  Grove. 

Dewdrop.  Kathlyn  Williams  is  Mrs. 
Charles  Eyton  in  private  life,  debutting 
from  Butte,  Montana.  She  commenced 
at  the  New  York  School  of  Dramatic  Art. 
A  blonde,  with  blue-gray  eyes  and  about 
five  feet  eight.  Address  Marion  Davies 
at  Cosmopolitan  Studios.  125th  Street, 
New  York  City.  During-  the  summer 
months  she  makes  her  home  on  her  priv- 
ate yacht  moored  at  Stamford,  Conn. 

Globe-trotter.  Fred  Niblo's  first  wife 
was  Josephine  Cohan,  sister  of  George  M. 
Cohan.  He  met  his  present  wife,  Enid 
Bennett,  while  playing  in.  Australia.  Miss 
Bennett  is  an  Australian  and  has  -two 
sisters,  Margery  and  Katherine.  Mar- 
gery is  abroad  playing  in  musical  comedy 
and  Katherine  takes  a  small  part  in  her 
sister's  pictures  now  and  again. 

Arita  M orrison.  Pola  Negri  has  teamed 
up  with  Lubitsch  to  make  "Forbidden 
Paradise"  from  the  stage  play  "'The 
Czarina."  Lubitsch  was  the  man  who  di- 
rected Pola  in  "Passion."  And  how  we 
long  for  another  like  it.  Strongheart 
and  Lady  Julie  will  soon  be  seen  in 
"White  Fang,"  which  Larry  Trimble  is 
producing  on  the  coast.  Strongheart  has 
been  summering  in  the  cast.  Your  favor- 
ite Thomas  Meighan  has  been  saying 
'hello'  to  the  President.  Tommy  was 
filming  _the  "Alaskan"  on  the  White 
House  lawn  and  the  President  liked  his 
looks  so  much  he  was  introduced  to  him. 

Betty    House.     Colleen    Moore  has 
parked  her  flapperish  lipsticks,  rouge"  and 
clothes  and  will  next  be  seen  as  a  middle 
aged  woman.    The  picture  is  Edna  Fer- 
ber's  "So  Big." 

Lancelot.  While  Flora  Le  Breton  is  a 
newcomer  to  the  American  public,  she 
has  been  a  screen  favorite  in  England  for 
several  years.  She  played  with  Lady 
Diana  Manners  in  "The  Great  Adven- 
ture," the  Stuart  Blackton  color-film. 


Richard  Barthelmess.  Fan.  Dick  and 
his  wife  Mary  Hay  and  Mary  Hay  Junior, 
spend  most  of  the  year  at  their  summer 
home  near  Rye,  New  York.  The  baby  is 
about  a  year  old  and  the  image  of  its  cute 
little  mother.  Mary  Hay's  father  is 
Colonel  Caldwell  of  the  U.  S.  Army.  She 
is  the  only  one  of  her  family  on  the  stage. 
Dick  Barthelmess  is  an  only  child.  His 
mother  was  on  the  legitimate  stage  for 
many  years. 

Perfect  Sixteen.  Yes,  Seena  Owen  has 
an  apartment  on  Central  Park  West,  and 
her  sister  Lillian  Hayward.  the  scenario 
writer,  has  one  in  the  same  building. 
Seena  is  quite  a  familiar  figure  in  the 
Park.  Every  spare  moment  she  has  is 
given  up  to  her  little  daughter  Pat  and 
her  niece  Peggy  Hayward. 

Frou-frou.  While  Irene  Castle  was  not 
exactly  the  first  to  bob  her  hair — remem- 
ber-Joan  of  Arc  had  a  nice  little  shingle 
all  her  own — still  she  has  made  it  fash- 
ionable. I,  too  admire  this  chic  dancer. 
Pity  she's  not  picturizing  now.  You  say 
that  Mary  Pickford  of  the  old  Biograph 
films  had  dark  hair!  Heretic!  Hair- 
splitter!  It's  quite  blonde,  very  curly  and 
very  lovely. 

Emma  A".  Mass.  Lillian  Rich  is  no  re- 
lation to  Irene  of  that  name,  although 
they  liave  both,  at  different  -periods  of 
their  career,  supported  Strongheart.  Lil- 
lian's latest  picture  is  "Never  Say  Die," 
starring  Douglas  MacLean.  She  is  one  of 
the  most  popular  of  the  younger  set  in 
Hollywood,  a  good  dancer,  and  much  in 
demand  at  parties. 

Elsie  Ronald.  Mae  Murray  is  a  very 
different  person  off  the  screen  to  the  ex- 
otic you  know  on.  She  dresses  very 
simply  in  little  one-piece  frocks,  or  sweat- 
ers and  smart  pull-on  hats.  Mae,  on  the 
Sound  Yiew  Golf  Links,  Long  Island,  is 
a  demure,  blonde  little  person  in  a 
straight,  narrow-belted  blue  linen  dress, 
smartly  shod  and  nattily  hatted,  who 
plays  a  very  fair  game  with  her  big 
husband  as  partner. 

Billy  Becket.  Marjorie  Daw  leapt  into 
fame  •  years  ago  as  Geraldine  Farrar's 
protegee.  Her  own  story  is  that  a  canny 
press-agent  saw  Geraldine  speak  to  her 
on  the  lot  and  he  hit  on  this  as  an  ex- 
cuse to  call  Marjorie  the  diva's  adoptee, 
for  publicity  purposes  anyhow.  All  is  not 
truth  that  is  written  and  a  publicity  man 
is  chosen  for  his  adaptable  brain.  Mar- 
jorie is  married  to  Edward  Sunderland, 
a  young  actor-director  who  is  making  big 
strides  in  the  right  direction.  She  has 
just  returned  from  England.  - 

Eleanor.  Edna  Purviance  has  not  yet 
decided  on  her  next  picture.  It  is  un- 
derstood she  received  a  percentage  in  ad- 
dition to  her  salary  for  "Woman  of  Paris," 
so  she  can  sit  down-and  wait  for  a  good 
story,  without  hearing  the  wolves  at  her 
bungalow  door. 


Do  you  want 
to  write  for 
the  movies? 

$10,000  paid  unknown 
woman  for  just  one  story 

TEN  thousand  dollars!  That  was  the  sum 
paid  Miss  Winfred  Kimball,  of  Apalachicola, 
Florida,  for  her  story,  Broken  Chains,  which 
won  the  first  prize  in  the  contest  conducted  by 
the, Chicago  Daily  News  hi  collaboration  with  the 
Coldwyn  Pictures  Corporation. 

Mrs.  Anna  Blake  Mezquida,  another  Palmer 
student,  won  the  second  prize  in  this  same  con- 
test, and  seven  $500  prizes  were' won  by  other 
Palmer  students. 

A  Palmer  student  wrote  "Judgment  of  the 
Storm."  Another  wrote  "The  White  Sin," 
and  still  another  wrote  "His  Forgotten  Wife." 
All  of  these  pictures  were  produced  by  the 
Palmer  Photoplay  Corporation  and  are  now  ap- 
pearing in  motion  picture  theatres  throughout 
the  country.  Each  author  received  $1000  cash 
and  will  also  receive  a  share  in  the  profits. 

Learn  the  Technique  of  Writing 

The  reason  for  the  success  of  Palmer  students 
is  simply  that  you  learn  to  write  stories  and 
motion  picture  scenarios  that  sell  by  learning  the 
technique  of  writing. 

You  study  under  the  direction  of  men  who  are 
themselves  authors  of  short  stories,  novels  and 
motion  picture  scenarios.  Vou  study  theme,  plot, 
characterization,  motivation,  action  and  other  basic 
story  requirements. 

Distinguished  Men  to  Help  You 

Among  the  contributing  instructors  of  the  Palmer 
Institute  of  Authorship  are  such  well-known 
writers  as  Jeanie  MacPherson,  chief  scenarist 
for  Cecil  B.  De  Mille ;  H.  H.  Van  Loan :  Reginald 
Barker  and  Leon  D'Usseau.  formerly  scenario  edi- 
tor for  the  Universal  Pictures  Corporation. 

The  Advisory  Council  includes  the  joUon'ing: 

CLAYTON  HAMILTON 

Author,  Dramatist,  Educator 
(Formerly  of  the  Faculty  Columbia  University) 
ROB  WAGNER 
Author  and  Motion  Picture  Director 
BRIAN  HOOKER 
Author,  Dramatist  and  Critic 
RUSSELL  DOUBLEDAY 
Publisher 
JAMES  R.  QUIRK 
Editor  and  Publisher  Photoplay  Magazine 
C.  GARDNER  SULLIVAN 
Screen  Writer  and  Director 
FREDERIC  TABER  COOPER 
Author,  Educator,  Critic 

WRITE  FOR  THIS  FREE  BOOR 

"The  New  Road  to  Authorship" 

The  -whole  story  of]  the 
Palmer  Institute  of  Author- 
ship and  its  search  for  new 
writers  under  the  direction 
of  the  men  whose  names  are 
given  above  is  told  in  this 
106-page  book,  ''The  New 
Road  to  Authorship."  This 
is  one  of  the  most  helpful 
books  ever  written  for  am- 
bitious writers.  We  shall  be 
glad  to  send  you  a  copy  free 
on  request. 


Palmer  Institute  of  Authorship 

Affiliated  with  Palmer  Photoplay  Corporation 
Dept.  22-K,  Palmer  Bldg.  Hollywood,  Calii. 

Please  send  me,  without  cost  or  obligation,  a  copy 
of  your  book,  "The  New  Road  to  Authorship."'  and 
your  Bulletin  containing  details  of  the  Palmer 
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ACNE 

THE    BANE    OF  YOUTH 

By  Helena  Rubinstein 


L 


Street  Address  

Town  State . 


IN  a  preceding  article  I  promised  my 
readers  to  take  up  the  subject  of  acne, 
which  lays  such  havic  in  the  ranks  of 
the  young. 

Acne  is  the  scientific  name  for  the  in- 
flammation of  the  fat  glands  of  the  skin 
and  is  generally  accompanied  by  black- 
heads and  pimples.  There  are  really 
various  kinds  of  acne,  but  I  shall  speak 
of  that  acne  only  which  afflicts  youthful 
individuals.  The  pimples  appear  some- 
times without  black-heads,  and  some- 
times blackheads  occur  without  pimples. 

The  yellow  head  of  the  pimple  usually 
bursts  or  is  scratched  open,  when  a  dis- 
charge of  pus  takes  place.  After  this  the 
swelling  and  redness  disappear, — but  fre- 
quently leave  behind  a  little  scar,  which 
in  some  cases  remains  for  life. 

Unfortunately  this  is  only  the  begin- 
ning of  the  chapter.  The  one  pimple 
jone,  another  follows  close  at  heel,  and 
another  and  still  another,  and  there  be- 
ing no  immigration  law  fixing  their  quota, 
there  may  be  soon  whole  colonies  of 
pimples  or  black-heads  over-running  the 
face,  chest,  back  or  shoulders. 

What  is  the  cause  of  this  plague  so 
commonly  afflicting  the  adolescent?  Many 
theories  have  been  advanced,  both  by 
physicians  and  laymen. 

It  is  the  characteristic  of  acne,  how- 
ever, that  it  chooses  for  its  victims  in- 
dividuals whose  skin  is  rather  coarse  or 
oily,  with  large  pores,  and  attacks  but 
rarely  those  whose  skin  is  delicate  and  of 
a  fine  texture.  And  there  is  a  good  rea- 
son for  this:  Since  the  whole  disturb- 
ance is  undoubtedly  due  to  microbic  in- 
fection of  the  fat  glands,  the  gaping  pores 
offer  the  easiest  approach  to  the  succu- 
lent fat  glands. 

Speaking  in  a  general  manner,  one  may 
say  that  int  certain  circumstances  more 
common  during  puberty,  and  by  reason 
of  certain  shortcomings  in  the  powers  of 
digestion  and  elimination,  the  skin  be- 
comes susceptible  to  attacks  by  germs 
which  worm  themselves  into  the  fat 
glands,  where  they  thrive  until  the  body 
can  mobilize  its  forces  of  defence.  This 
is  accomplished  by  the  millions  of  white 
blood  cells  which  range  themselves  in 
form  of  pus  in  the  inflamed  parts.  When 
this  matter  is  discharged,  it  carries  with 
it  the  bulk  of  the  enemy.  As  a  rule,  the 
white  cells  succeed  only  in  part,  because 
numberless  germs  are  spread  over  the 
surface  of  the  skin  and  but  too  easily  en- 
ter another  gland  where  they  again  mul- 
tiply. Thus  the  battle  goes  back  and 
forth,   until   about   the   age   of  thirty, 


when  the  process  usually  comes  to  an 
end. 

Now  while  acne  is  as  a  rule  a  harmless 
enough  affection,  those  who  suffer  from 
it,  suffer,  under  the  disfigurement  which 
it  brings  about,  in  mind  rather  than  body. 
The  mental  suffering  which  it  frequently 
causes  is  not  to  be  laughed  away. 

It  is  probably  due  to  this  actual  harm- 
lessness  of  acne  in  itself  that  the  gen- 
erality of  physicians  do  not  show  as  much 
sympathy  towards  sufferers  from  juvenile 
acne  as  they  do  in  other  branches  of  skin 
troubles. 

This  brief  sketch  of  acne  is  intended  to 
deal  with  prevention  chiefly.  I  have  em- 
phasized the  fact  that  young  people  with 
oily  skin  and  over-open  pores  are  espe- 
cially inclined  to  acne.  How  shall  they 
go  about  to  ensure  the  proverbial  ounce 
of  prevention? 

Avoid  cheese,  smoked  fish  and  meats, 
and  fat  or  greasy  food  in  general.  Eat 
plenty  of  fruit.  Start  the  day  with  l 
glass  or  two  of  water,  not  too  cold,  as 
soon  as  you  jump  out  of  bed.  Get  plenty 
of  vigorous  exercise.  Wash  the  face 
twice  daily  in  warm  water,  using  soap  of 
good  quality.  Rinse  in  cold  water;  if  a 
shower  is  handy,  let  the  cold  stream  play 
upon  the  face  until  it  sets  it  tingling.  Of 
greatest  importance  is  a  daily  massage, 
and  by  this  I  do  not  mean  any  com- 
plicated treatment  or  series  of  move- 
ments. The  best  method  for  you  young 
people  is  to  give  your  face  a  sound  pun- 
ishment ;  slap  it  well  with  your  hands  un- 
til it  smarts.  This  will  give  the  skin  liveli- 
ness and  vigor  of  action.  Do  this  regu- 
larly every  morning.  It  will  take  only 
two  minutes  of  your  time,  and  save  you 
months,  sometimes  years,  of.  vexation  and 
humiliation.  The  effect  of  all  this  is  to 
encourage  the  circulation  of  blood 
.through  the  tissues  of  the  skin,  since  the 
more  they  are  flushed  with  good,  healthy 
blood,  the  better  they  are  nourished  and 
enabled  to  throw  off  all  waste  material. 
You  will  avoid  stagnation,  and  in  activat- 
ing the  skin  you  will  render  the  germs' 
favorite  haunts  very  uncomfortable  to 
them,  to  say  the  least.  , 

But,  and  I  must  impress  this  upon  my 
readers  with  all  emphasis  at  my  disposal, 
you  must  be  persevering.  And  if  I  stress 
the  serious  handicap  a  pimple-covered 
face  may  sometimes  prove  to  be  in  search 
of  advancement  in  life,  it  is  because  I 
feel  confident  that  the  sacrifice  of  a  few 
minutes  a  day  is  price  small  enough  to 
pay  for  the  possession  of  a  clean,  healthy- 
looking  countenance. 


SCREENLAND 


Vrize  better 


Last  month's  SCREENLAND  offered  a  prize 
of  $10. OU  for  the  letter  containing  the  most 
constructive  criticism  on  the  movies.  The  prize 
has  been  sent  to  Mr.  John  H.  Dauer,  Jr., 
South  Charles  Street,  Baltimore,  Maryland, 
prize-winning"  letter  follows : 


1217 
The 


What  I  Think 
of  The  Movies 

Editor  Scrcenland: 

To  start  off  with,  most  of  the  films,  or 
rather  the  stories,  are  too  long  and  drawn  out. 
Of  course  this  is  not  always  true.  One  that  just 
seemed  to  suit  me  was  "The  Thief  of  Bagdad" 
at  Atlantic  City  this  month.  I  don't  know  how 
many  reels  this  picture  consisted  of,  but  no 
other  pictures  were  shown  at  the  performance 
and  it  held  my  interest  until  the  very  end.  . 

Don't  misunderstand  me,  1  am  not  against 
the-  showing  of  the  comedies  and  educations 
films.  I  think  lots  of  the  big  feature  films  could 
easily  be  shortened  and  still  tell  the  story  in 
the  proper  manner  and  then  the  program  could 
include  short  subjects  and  yet  not  get  tiresome. 

Another  thing  I  think  is  wrong  with  the 
movies :  I  think  the  majority  of  the  pictures 
show  too  many  close-ups  of  the  stars,  weeping 
or  laughing,  whichever  the  case  may  be.  I 
think  it  tends  to  distract  rather  than  attract. 
I  never  could  understand  why  they  used  close- 
ups  :  how  much  nicer  it  would  be  to  have  the 
story  told  to  you  without  close-ups.  The  public 
certainly  can  tell  when  a  star  is  weeping  or 
smiling  without  the  close-ups  showing  the  tears 
rolling  down  her  cheeks,  or  his  teeth  showing 
and  his  mouth  opened  from  ear  to  ear,  forcing 
a  smile. 

Another  thing,  I  think  the  American  people 
take  the  moving  pictures  too  seriously.  They 
are  always  ready  to  find  fault  with  a  moving- 
picture,  but  they  Jet  legitimate  plays  and  players 
get  away  with  murder. 

(Signed)  JOHN  H.  DAUER,  JR. 


Mr.  Dauer's  letter  is  very  interesting  and 
we  believe,  because  many  directors  will  see 
it  in  SCREENLAND,  that  this  may  re- 
sult in  a  change  in  the  present  methods. 

We  particularly  commend  the  point  that 
he  makes  concerning  these  enormous  close- 
ups  of  the  characters  weeping  or  laughing. 
All  Americans  take  pride  in  "keeping  a 
stiff  upper  lip."  If  you  have  been  hurt, 
don't  whine,  don't  show  it;  if  you  have 
won  a  great  victory,  then  you  must  ap- 
pear modest  and   not  "stuck-up." 

Why,  then,  should  our  directors  feel  that 
they  have  the  license  to  remove  all  reserve 
from  the  characters  in  the  story  by  bring- 
ing that  character  to  a  close-up  ?" 

Mr.  Dauer's  point  is  well  taken. 

We  are  reminded  of  the  words  of  an 
enthusiast  on  the  movies  who  explained 
the  entire  popularity  of  the  films  by  say- 
ing that  close-up  makes  every  seat  an 
orchestra  seat. 

The  close-up  where  sometimes  the  head 
of  the  heroine  is  shown  ten  feet1  high  is 
more  effective  than  opera  glasses.  Even- 
one,  no  matter  how  large  the  theatre  may 
be,  has  the  satisfaction  of  observing  each 
emotional  quiver. 

This  would  be  argument  against  elim- 
inating close-ups. 

$10.00  FOR  A  LETTER  OF  CON- 
STRUCTIVE CRITICISM  ON  THF 
MOVIES. 

What  Do  Yon  Think? 


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TRE-JUR 


SCIREENLAND 


.  7ou  on  Mi ,  dinj  i  -  out  Arntr  hcari 
qtrU  I. .3  admire  y oi- 


.  for  the  generally  smart  way  you 
manage  to  dress  on  a  limited  income  .  .  . 

your  independence  .  .  .  .  your 
camaraderie! 

But,  sometimes  I  notice  a  certain  lack  of 
poetry .  .  .  of  charm  .  .  of  the 
subtle  atmosphere  of  person- 
ality .  .  .  Do  you  always 
take  enough  time  to  develop 
your  own  distintt  personal- 
ity? Or,   between  ourselves, 
aren't  you,  perhaps,  satisfied 
to  be  just  a  representative  of 
an  approved  type? 


Va  laze 
Beautifying 
Skinfood 


b  VALAZE  ' 
SKINFOOP 


You  can  be  much  more 
everything!  ....  So  much  more  beau- 
tiful! .  .  Yes,  really!  It  only  takes  a 
little  study  of  yourself  and  your  needs. 
Your  skin,  for  instance,  have  you  ever 


studied 'it  carefully? Have you  ever 'thought 
how  delicately  and  exactly  its  coloring 
blends  with  you? .  .  and  with  the  color  of 
your  hair?  .  .  and  the  color  of  your  eyes? 
Is  it's  texture  the  texture  of  the  gardenia? 

Texture!  ....  that's 
where    my  Valaze 
Skinfood  is  such  a  miracle- 
worker;  three  or  four  nights 
a  week  of  wearing  it  all 
night  long,  and  freckles  and 
"crepeyness"  and  that  dis- 
figuring uneveness  of  the 
skin  will  cease  to  worry  and 
you'll  look  forward  to  your 
trip  to  the  mirror  in  the  morning;  let  me 
recommend,  as  a  great  inspiration,  begin- 
ning to  study  and  enjoy  yourself  .  .  and 
to  find  and  give  greater  charm  to  life. 


A  dollar,  two-fifty  or  four- fifty  according  to  srze  of  jar,  and 
to  be  had  at  hading  stores  or  direSl,  -Nor  should  you  be  with- 
out my  booklet,  i( Beauty  for  Everywoman,    which  my  Sec- 


retary will  be  glad  to  send  you. 


BOSTON,  MASS. 

234  Boylston  St. 

CHICAGO,  III. 

30  N.  Michigan  Ave. 


NEWARK,  N.  J. 

951  Broad  St. 


NEW  YORK  CITY 

46  West  57th  Street 
HOLLYWOOD,  CAL.,  1780  Highland  Avenue 


DETROIT,  MICH. 

1540  Washington  Blvd. 

PARIS 

126  Rue  du  Faubg.  St.,  Honore 

LONDON 

24  Grafton  St.,  W  I 


0C1  13  1J-; 

SCREENLAND 


12 


Photo  by  Alfred  Cheney  Johnston 


HELEN  COSTELLO 


Daughter  of  a  famous  star  uilio  has  icon  on  the  strength  of  her  o<wn  abilities. 


To-morrow's  stars  are  lighting!  I  see  you  there! 


The  Extra  Girl 

By  Gayne  IDexter 

Decoration  by  Robert  Patterson 

/  yOUR  face  is  lost  'mid  overweening  faces 
\yj    And  no  one  seems  to  see  you,  Extra  Girl. 
J     Your  ways  are  cast  in  bright  and  shadowed  places: 
Extra-line  or  gleaming  sets  where  swirl 

The  stars  about. 
They  know  the  joy  but  you  the  ache  of  spending 
Golconda's  fortune.  Yours  is  make-believe, 
Your  glories  with  the  darkened  Kleig-lights  ending. 
Your  "little  bit"  some  star  has  found  offending 

And  said,  "That's  out!" 
You  strive  and  starve  and  live  a  grand  adventure. 
Insurgent  at  the  frowning  firmaments, 
You  gamble  hells  for  heavens  till  are  spent  your 
Woes  in  wonders,  laughters  in  laments 

And  brave  despair. 
If  you  could  gain  your  stardom  without  fighting 
And  Fame  surrendered  quickly,  Extra  Girl, 
Would  triumph  hold  the  glorious  requiting 
Of  crowns  for  thorns?  ....  Tomorrow's  stars  are  lighting 

I  see  you  there! 


From  "The  Ferris 


Editorials  By 


The  Ferris  Wheel 


P"T^HE  movie  Ferris  Wheel  plays  strange 
|     tricks  upon  those  who  so  gaily  take  a 
JJL    seat  upon  it  for  a  quick  ascension  to 

the  heights  of  movie  fame. 
The  trip  up  is  great.    The  music  plays. 
The  crowds  below  strain  their  necks  to  see         .  . 
the  fortunate  rider;  sometimes  they  cheer.    uCHpt  lnpS 


Wharton's  prize-w7inning  novel,  The  Age  of 
Innocence,  one  of  the  screen  plums  of  the 
year. 

Here's  prediction — the  seasoned  artist, 
Alice  Joyce,  will  make  a  far  greater  success 
than  the  old  Alice  ever  enjoyed. 


Then — the  wheel  goes  on;  but  as  wheels 
have  a  habit  of  doing,  the  farther  they  go 
after  the  height  is  reached,  the  lower  the 
rider  descends,  until  at  last  bottom  is  touched 
again. 

Once  upon  a  time  a  beautiful,  dark-haired, 
mysterious-eyed  girl  took  her  seat  upon  the 
movie  Ferris  Wheel.  The  upward  sweep  of 
the  wheel  was  dazzling,  breath-taking.  Alice 
Joyce  rode  triumphantly  to  the  top;  the 
crowds  below  cheered;  electric  lights 
sparkled  around  her  pretty  head.  For  a 
time,  it  looked' as  if  the  master  hand  which 
directed  the  Ferris  Wheel  had  decided  to 
stop  it  permanently,  with  Alice  in  the  top- 
most seat.  Then — with  a  sickening  sudden- 
ness, the  wheel  started  revolving  again,  and 
slowly,  inevitably,  Alice  Joyce  reached  the 
ground. 

She  got  out  of  her  seat,  stretched  her 
cramped  muscles,  and  with  a  fine  determina- 
tion set  about  earning  another  ride  on  the 
wheel.  It  was  a  roundabout  way  she  took  to 
earn  that  ride.  She  married  again,  happily 
this  time.  Had  another  child.  Grew  up 
f  nd  developed  and  learned  things. 

Then — very  quietly,  and  when  no  one  was 
looking,  Alice  Joyce,  with  her  nickel  in  her 
hand,  seated  herself  again  in  the  lowest  seat 
of  the  Ferris  Wheel. 

All  of  which  means  simply  that  Alice 
Joyce  has  come  back.  She  has,  on  her  way 
up  for  the  second  time,  appeared  in  two  or 
three  pictures,  in  which  she  made  good, 
showing  something  of  that  quality  which 
will  distinguish  the  new  Alice  Joyce.  Now 
comes  the  good  news  that  the  Ferris  Wheel 
is  slowly  bearing  her  to  the  top  again. 
Famous  Players-Lasky  has  offered  her  the 
feminine  lead  in  Three  Black  Pennys, 
Joseph  Hergesheimer's  greatest  novel.  And 
at  the  same  time,  Warner  Brothers  approach 
her  with  offers  to  feature  her  in  Edith 


IT  is  sad  news  for  stars  and  directors  that 
American    producers    are  expensively 
learning  what  we  had  suspected  all  along 
— that  it  is  far  cheaper  and  much  more 
satisfactory  to  make  pictures  with  foreign 
settings  here,  in  Hollywood  or  New  York, 
than  "on  the  ground." 

The  picture  star  who  wasn't  able  to  grab 
off  a  "script  trip"  out  of  a  year's  contract 
was  considered  a  rather  poor  manager.  And 
directors  never  considered  taking  an  ocean 
voyage  on  their  own  expense.  It  was  so  easy 
to  say  to  the  scenario  writer,  "I  wish  you'd 
write  me  in  a  trip  to  Venice;  my  doctor  says 
I  need  a  sea  voyage." 

And  it  hurts  us  to  picture  the  grief  of  the 
publicity  writers  who  can  no  longer  write 
reams  of  copy  about  the  company  on  location 
in  Paris  or  Rome  01  Algiers. 

Of  course  the  custom  of  making  pictures 
on  the  actual  scene  of  the  crime — er,  story — 
will  not  entirely  die  out.  Producers  with  an 
extra  million  which  they  don't  know  what  to 
do  with  will  undoubtedly  continue  to  send 
expensive  casts  and  endowed  directors  to 
Europe,  there  to  build  sets  to  satisfy  the 
American's  idea  of  what  foreign  places  look 
like.  But  sensible  producers  have  just  about 
concluded  that  it  is  a  folly  which  they  can 
ill  afford. 

Business  of  waving  the  flag!  Page  Mr. 
Cohan! 

Broken  Contracts 

NE  can't  help  suspecting  a  certain 
ruthlessness  in  Marcus  Loew's  hand- 
ling of  the  Ben  Hur  situation.  A 
goodly  number  of  broken  contracts 
and  broken  hearts  lie  strewn  in  the  wake  of 
his  voyage  to  Rome,  to  take  charge  of  the 
gigantic  undertaking  and  to  install  his  own 
people. 


16 


to  "Cinderella 

Myron  %obel 


Ben  Hur  was  started  by  the  Goldwyn 
company,  with  Charles  Brabin  as  director, 
June  Mathias  as  scenario  writer  and  super- 
vising editor,  and  with  George  Walsh  as  Ben 
Hur.  All  three,  and  others  too  numerous  to 
mention  here,  had  specific  contracts  calling 
for  their  services  in  that  picture. 

Now  George  Walsh,  kept  off  the  screen 
for  a  year  because  of  his  contract  to  play  the 
title  role  of  Ben  Hur,  is  back  in  New  York, 
a  stunned,  angry,  bewildered  man,  smarting 
at  the  injustice  of  the  blow  which  took  him 
out  of  the  cast  before  a  single  scene  had  been 
shot. 

June  Mathias,  recently  heralded  as  the 
highest  paid  scenario  writer  in  the  business, 
found  herself  with  a  broken  contract  on  her 
hands,  too.  But  spunkily  she  settled  her  af- 
fairs with  Goldwyn  and  signed  up  with 
Valentino,  to  do  the  scripts  of  his  pictures. 

Charles  Brabin,  director,  confronted  with 
incredible  difficulties  in  Italy,  spent  his  time 
building  an  enormous  studio  and  breaking 
ground  for  the  real  work  of  filming  the 
great  spectacle — only  to  find  himself  shelved 
without  a  scene  to  testify  to  his  ability  to 
direct  it — and  with  a  broken  contract  on  his 
hands. 

Ben  Hur  is  a  picture  of  Biblical  times; 
the  Christ  walks  through  it,  healing  and 
preaching. 

Will  a  picture  built  upon  broken  contracts 
and  bleeding  hearts  adequately  express  the 
Christ  message? 

Surely  a  less  ruthless,  less  heartbreaking 
way  of  remedying  any  mistakes  that  the 
Goldwyn  company  had  made  could  have 
been  found  by  Marcus  Loew. 

Cinderella 


nr^HEY  say  that  Betty  Bronson  wept 
for  two  solid  hours  after  Jesse  Lasky 

J-L  had  informed  her  that  she  had  been 
unanimously  chosen  by  himself, 
Adolph  Zukor  and  Sir  James  Barrie  to  play 
Peter  Pan. 

Tears  of  joy  are  sweet.  Probably  Betty 
will  never  shed  sweeter  tears,  if  she  lives  to 
be  a  hundred. 

Somehow  we  liked  that  about  Betty.  It 
made  us  add  our  unsolicited  vote  to  the 


choice  of  three  wise  men  of  Hollywood, 
New  York  and  London.  It  makes  Betty 
seem  such  a  human,  nice  little  girl.  And  we 
have  always  had  a  liking  for  Cinderellas. 

Betty,  born  in  Trenton,  New  Jersey,  in 
1906,  had  been  bucking  the  movie  game  in 
Hollywood  for  two  years,  after  spending  five 
years  with  Fokine  to  learn  ballet  dancing,  so 
that  she  might  be  thoroughly  prepared  for  a 
movie  career. 

Betty  didn't  believe  in  royal  roads  to 
movie  stardom.  She  worked.  And  then, 
because  the  wise  little  virgin  had  trimmed 
her  lamp,  the  Fairy  Godfather  came  along 
and  touched  her  with  his  magic  wand. 

You  may  be  sure  that  Betty  Bronson  has 
something  about  her  that  is  different — ap- 
pealing and  sweet  and  good.  Or  Sir  James 
Barrie  would  never  have  chosen  her  to  play 
the  most  beloved  character  in  all  play  litera- 
ture. 

Hail,  little  Cinderella!  And  the  best  of 
luck  to  you ! 


Keeping  Busy 


I SAID  to  Helene  Chadwick,  after  I  had 
seen  a  preview  of  a  picture  which  was 
not  up  to  her  great  skill : 

"Why  did  you  do  it?  Did  you  take 
the  job  for  money?  Or  to  keep  busy?  Or 
just  because  they  asked  you  to?" 

Instead  of  throwing  the  cut-glass  salt 
shaker  at  me,  she  answered  me  seriously: 

"I  know  it  was  a  mistake.  I  realize  it 
now.  But  it's  this  way — we  feel  that  we 
have  to  keep  before  the  public.  It's  fatal  to 
be  absent  even  a  short  time — six  months  or 
a  year.    The  public  forgets  so  easily." 

Then  I  told  her  that  I  thought  the  public 
would  rather  forget  a  star,  or  retain  pleasant 
memories  of  her,  than  to  see  her  in  a  ridicu- 
lous, unworthy  picture.  I  told  her  that  it 
was  poor  economy  to  count  the  dollars  she 
got  for  a  few  weeks'  work,  against  the  loss  of 
reputation,  against  the  unpleasant  aftermath 
with  other  producers.  But  I  suspect  she 
will  go  right  on  to  fill  up  her  spare  time 
between  good  pictures. 

What  do  you  think?  What  effect  does 
seeing  a  favorite  in  a  poor  picture,  atroci- 
ously directed,  have  on  your  liking  for  the 
star? 


17 


Could  You  Qualify 
As  An  Extra? 


By  The  Editor 


~  HE  sensation  of  being  in  a  high  place  must  be  very  pleasant 
but  suppose  we  got  our  wish — could  we  make  good? 

The  Extra  Girl  has  provided  a  theme  for  our  philosophy. 
She  waits  in  thousands.  She  is  vamping  Fate  in  every  highway  and 
discreetly  boosting  herself  by  night  and  by  day.  And  well  she  may, 
for  she  is  a  very  delectable  person.  Beauty  is  hers  and  youth,  and 
a  brazen  age  permits  her  to  ride  forth  to  conquer.  But  after  all  is 
said  concerning  her  great  desire  to  be  fondled  in  the  lap  of  Fortune, 
the  truth  of  the  matter  is  that  she  only  wants  a  chance  to  learn.  First, 
to  be  on  the  lot,  to  study  the  experienced  stars  and  the  tried  and  true 
older  players.  As  she  learns  she  wants  to  move  a  little  nearer  to  the 
spot  light  until  at  last  she  knows  that  she  has  the  technique  to  put 
over  to  a  waiting  world  the  message  which  has  been  entrusted  to  her. 

She  wants  action,  yes,  but  she  feels  the  importance  of  the  mantle 
she  will  inherit  and  when  that  time  arrives  she  wants  to  proudly  bear 
it  so  that  not  even  a  hem  touches  the  ground. 

And  all  of  us  who  are  hoping  and  working  for  some  of  the  million 
separate  thrones  of  Earth,  let  each  of  us  get  a  tip  from  the  up-at-6:30 
Extra  Girl,  and  let  our  ambition  be  backed  with  knowledge. 

If  you  hate  to-day's  job,  go  on  up,  change  it.  Somebody  has  got 
to  be  the  boss,  somebody  must  be  the  star  of  the  show.  There  will  be 
a  new  name  on  the  tablets  of  fame  before  the  new  moon  and  it  will 
be  the  name  of  some  one  whose  armor  of  patience  had  been  tried, 
whose  side  arms  of  personality  and  brains  have  been  tested  and  whose 
shoulders  have  proven  themselves  strong  enough  to  bear  the  weight 
of  greatness. 

Most  of  us  are  Extras  anyhow,  so  let  us  make  as  good  a  showing 
of  perseverance  and  patience  as  The  Extra  Girls. 


J 


I 


( 


Where  BEAUTY  Serves 


By  Anne  Austin 


\The,  picturesque  little  "Come-On-Inn"  Restau- 
rant iv hie h  located  near  the  studios  caters  to 
10  the  brightest  stars  and  cutest  extra  girls. 


T"  WAS  eavesdropping  in  Hollywood  not  so  long  ago. 

And  out  of  that  mild  little  crime  there  came  some- 
1    thing  rather  precious  to  me — -I  looked  into  the  heart 
of  an  extra  girl.    A  warm,  courageous,  high  heart, 
filled  with  all  sorts  of  graces  and  beauties  that  I  had  not 
dreamed  that  heart  holds. 
Here  is  how  it  came  about: 

I  was  lunching  alone  at  Betty's  on  Argyle  Street,  that 
leads  from  Hollywood  Boulevard  to  the  back  door  of  the 
Lasky  studio — and  elsewhere,  but  that  is  of  no  consequence. 

"Come  On  Inn"  is  a  busy  place  and  I  was  lucky  to  find  a 
table  in  the  corner  out  of  the  way  of  Betty's  ceaseless- 
journeys  between  kitchen  and  dining  room.  Then  I  thought 
1  wasn't  so  lucky  when  two  girls,  one  in  make-up,  calmly 
took  possession  of  the  other  two  chairs  without  a  by-your- 
leave  or  the  least  notice  of  me. 

Extra  girls!  You  don't  have  to  be  told.  Somehow  you 
know  them  anywhere,  in  grease  paint  or  free  of  it,  in  cos- 
tume or  on  the  way  to  look  for  work.  They  had  that  deter- 
mined air  of  cheerfulness  which  only  those  learn  who  are 
almost  daily  met  with  the  "Nothing  today,  dearie"  made 
famous  in  our  Merton's  tale  of  studio  life. 

And  there  is  something  else.  An  ingratiating  sweetness, 
a  forced  putting  of  the  good  foot  forward,  a  perkiness  and 
cunningness  of  front-window  showmanship  that  no  other 
girl  in  the  world  has — unless  she's  a  chorus  girl.  And  even 
then  the  chorus  girl  is  different,  more  hardened,  less  sure 
of  herself,  less  confident  that  (Continued  on  page  67) 


Q  The  real  extra  girl 
waits  on  table  or 
serves  in  the  shops 
between  jobs,  wait- 
ing patiently  for  her 
chance,  for  in  the 
movies  one  success- 
ful "bit"  insures  a 
good  living  and  a 
chance  for  a  great 
future. 


21 


(\Jacqueline  Logan,  the  greatest  discovery  sine, 
Columbus  discovered  America. 


(\Barbara  Deane,  this  girl  is  destined  to  be  the 
dean  of  'her  profession. 


He  Can  Tell 


at  a 


Glance 


By  Delight  Evans 


Alfred  Cheney  Johnston,  New  York's  most  famous  photographer,  can 
recognize  a  Movie  Star  before  she  begins  to  twinkle. 

Photographs  hy  Alfred  Cheney  Johnston 


picks  screen  stars  in  his  spare  time.  Portrait 
is  his  side-line. 

Somebody  remarked  the  other  day  that  there 
are  four  ways  to  break  into  the  movies.  First, 
win  a  beauty  contest.  Second,  get  into  Ziegfeld's  Follies. 
Third,  marry  a  producer.  Fourth,  have  your  picture  taken 
by  Alfred  Cheney  Johnston.  All  in  fun?  Perhaps.  But 
there's  more  than  just  a  laugh  in  that  last  suggestion. 

It's  no  more  infallible  than  any  other  rule  for  enter- 
ing the  international  screen  sweepstakes;  but  the  fact  re- 
mains that  three  girls  gained  admittance  to  that  great 
big  door  marked  "Private"  which  leads  eventually  to  screen 
stardom ;  and  several  others  have  been  started  on  the  rocky 
road  to  film  fame  and  fortune — as  the  result  of  photo- 
graphs posed  by  the  genial  Johnston. 

There  are  few  professional  beauties  who  have  not  gazed 
at  the  birdie  at  his  direction.  Nearly  every  famous  stage 
•  or  screen  star  with  any  claims  to  pulchritude  has  found 

22 


her  way  to  "Cheney's"  studio  and  just  between  ourselves, 
some  stars  not  so  beautiful  who  still  yearned  to  be.  Even 
before  the  days  that  Johnston  moved  to  his  smart  studio  in 
the  Hotel  des  Artistes,  with  its  grand  piano  and  its  early 
Italian  furnishings,  celebrities  used  to  visit  his  workshop 
in  a  little  old-fashioned  building  with  a  creaky  elevator 
that  ran — sometimes.  Johnston  makes  them  lovely  even 
after  nature  has  given  it  up.  And  if  a  girl  is  beautiful 
by  birth,  he  makes  her  more  so. 

That's  how  he  happened  to  earn  the  title  of  "star 
picker".  He  has  an  eye  for  a  lass — because  that's  his 
business.  Producers  learned  to  realize  that  with  his  artist's 
eye  he  could  discern  camera  possibilities  hidden  from  the 
casual  observer.  He  has  photographed  so  many  lovely 
ladies  that  he  has  become  an  authority  on  feminine  beauty. 
That's  why  his  recipe  for  screen  success  is  worthy  of 
quotation  marks. 

"Brains — beauty — sex  appeal."   In  the  order  named.  The 


(\Martha     Mansfield,     one     of    the  loveliest 
beauties,  still  remembered  by  every  one. 

girls  he  has  selected  for  stardom  have  possessed  the  triple 
requirements,  and  without  the  first,  says  Johnston,  the 
other  two  may  never  be  advertised  in  large  electrics  over 
a  picture  palace. 

Two  present-day  starlets  were  led  to  the  screen  through 
Johnston's  studio.  Both  were  members  of  that  exclusive 
seminary  for  lovely  young  ladies,  the  Ziegfeld  entertain- 
ments. Both  posed  for  Johnston's  camera.  Both  were 
introduced  at  film  studios  by  him.  Today,  they're  stars — 
Jacqueline  Logan  and  Billie  Dove. 

"Jacqueline  Logan  is  very,  very  pretty,"  said  Alfred 
■  Cheney  when  he  was  asked  to  explain  why  he  singled 
Jackie  out  of  the  bevy  of  beauties  he  used  to  photograph 
in  the  Midnight  Roof  show,  "but  more  than  that,  she's 
clever.  I  first  noticed  her  in  a  Ziegfeld  roof  number. 
She  was  getting  a  great  kick  out  of  her  work.  I  mean 
that  literally.  While  the  other  girls  went  through  their 
steps  more  or  less  nonchalantly,  Jackie  put  her  soul  into 
hers.  She  worked  every  minute.  If  she  kicked,  she  kicked 
straight  out,  with  zest  and  vigor.  She  did  everything  well. 
I  watched  her.  Later,  I  made  some  studies  of  her.  When 
Allan  Dwan  came  up  to  my  studio,  I  showed  them  to  him, 
and  told  him  in  my  opinion  she  possessed  every  qualifica- 
tion for  screen  work.  When  he  met  her  he  agreed  with 
me — and  gave  her  a  chance.  She  went  to  the  coast  to 
appear  in  his  next  picture.  I  was  out  there  making  por- 
trait stills  for  the  same  picture,  and  I  had  a  chance  to 
watch  her.  Many  girls  with  Jackie's  chances  didn't  get 
along — because  they  didn't  work  as  she  did.  She  realized 
every  opportunity  that  came  her  way.  She  never  stopped 
working.  That's  why  she  was  ready  every  time  a  good 
part  was  offered  her.    And  that's  why  she  made  good. 

"Billie  Dove  was  also  on  the  Roof  when  I  first  saw 
her.  No — I  wouldn't  call  the  Follies  the  best  training 
school  for  pictures — any  more.  It  was  once,  because  it 
was  a  rendezvous  for  beautiful  girls.  The  loveliest  ones 
were  always  in  the  Follies  because  at  that  time  the  Follies 


(\Billy  Dove,  whose  close-ups  in  "The  Wanderer  of  the  Waste- 
land" mark  the  further  advance  of  color  in  motion  pictures. 

was  the  best  of  musical  comedies.  Today,  the  Scandals, 
the  Music  Box  Revue,  and  other  shows  offer  just  as  much 
movie  material.  But  Billie,  being  a  beauty,  was  on  the 
Roof.  She  is  a  different  type  from  Jackie — lovely  to  look 
at,  and  with  the  very  best  kind  of  sex  appeal.  I'm 
glad  to  note  that  people  don't  utter  the  words  "sex  appeal' 
in  whispers  any  more.  It  can  be  cheapened,  but  at  its 
best  it's  an  invaluable  asset,  and  Billie  had  it — still  has. 
in  fact.  She  had  the  demure,  sweet  kind.  Her  face 
and  figure  were  wonderful  camera  material.  I  introduced 
tier  to  George  Archainbaud  at  Selznick's,  and  she  played 
a  small  part  for  him  over  at  the  Fort  Lee  studios — and  then 
another,  and  another.  An  offer  came  for  her  to  go  to 
California;  she  left  the  Follies  and  began  a  screen  career 
in  earnest.  Since  then — well,  you  have  seen  her  in  Wan- 
derer of  the  Wasteland — and  as  the  star  in  her  own  romance 
with  Irvin  Willat,  the  director." 

Martha  Mansfield,  whose  beauty  was  tragically  snatched 
from  the  screen  just  as  she  was  about  to  blossom  as  a 
real  actress  in  The  Warrens  of  Virginia,  was  an  Alfred 
Cheney  Johnston  discovery.  She  was  his  camera  model, 
and  her  lovely  face  was  photographed  as  an  adornment 
for  magazine  advertisements  and  posters.  The  publicity 
she  won  in  this  way  made  her  of  screen  value,  and  she 
soon  found  entree  into  the  studios.  Her  real  chance  came 
when  Johnston  introduced  her  to  John  Barrymore,  who 
immediately  offered  her  the  role  opposite  him  in  Dr.  Jekyll 
and  Mr.  Hyde.  Her  beauty  and.,  later,  her  ability  made 
Martha  Mansfield  a  featured  player  and  finally  a  star. 

Barbara  Dean,  a  statuesque  beauty  who  posed  for  John- 
ston's photographic  advertisements,  was  offered  an  impor- 
tant role  by  George  Fitzmaurice  in  Peter  Ibbetson.  She 
accepted  and  made  her  screen  debut.  It  was  her  first 
and  last  appearance — but  only  because  Barbara  has  never 
succumbed  to  the  lure  of  the  studios  and  prefers  to  pose 
for  the  still  camera*..  She  {Continued  on  phge  94) 


Q.  Posed  by  Shirley 
Mason. 


-HEN  Shirley  Mason  told  the  story,  there 
'  tirred  in  my  mind  recollections  of  two  tragic 
Ihrongs  whose  pictures  would  haunt  me  for- 
ever, I  once  believed,  but  yet  had  disappeared 
these  many  years  beneath  other  canvases  of  life,  colorful, 
drab,  poignant  or  ridiculous. 

There  were  women  crying  about  a  mine-head,  anguished 
women  sobbing  slowly  as  miners'  bodies  were  brought  up, 
or  soaring  in  hysterias  of  hope  when  the  rescue-leader 
whispered,  "There's  tapping  down  a  tunnel.    Sounds  like 

24 


some  of  em  are  alive."  The  other  throng  gathered  at 
a  Customs  House  praying  against  the  omen  S.  S.  Carguay 
— Missing. 

These  pictures  came  by  contrast,  for  Shirley  mentioned 
a  name  I  had  not  heard  for  years,  a  director's  name. 
And  he  was  missing  without  being  missed  for  more  than 
a  moment  among  studio  crowds  whose  grief  is  as  facile 
as  their  happiness,  but  who  are  all  too  intent  upon,  too 
busy  entertaining  the  world  to  note  a  fellow's  passing 
with  ostentation  unless  an  idol  be  struck  down.   For  movie- 


irectors 


ByGayne  Dexter 


folk  understand  two  deaths,  of  which  the  last  is  the  least. 
When  fame  departs  and  leaves  them  still  alive,  that  is 
the  slow,  torturing  demise.  But  this  man  disappeared  at 
the  crest  of  his  popularity.  Others  have  done  likewise — 
purposely;  while  others  simply  have  obeyed  the  wander- 
lust. All  are  so  speedily  lost  to  ken.  sometimes  so  magically 
returning,  that  one  wonders  where  lies  this  Port  of  Mis- 
sing Directors  and  what  happens  there. 

Do  you  remember  Ned  Finley,  foremost  and  famous 
among  the  old  Vitagraph  megaphoners?  Oh  yes,  you  re- 
call that  he  died  in  New  York  in  a  room  hung  with 


ClShirley  Mason,  the  heroine  of  tliis 
extraordinary  story, as  she  posed  for 
her  great  film  "South  Sea  Love." 


motion  picture  posters,  tributes  to  his  glory.  But  in  the 
span  between,  where  was  Ned? 

And  Jack  Wells,  one  of  Universal^  most  promising 
youngsters.  Suddenly  gone,  suddenly  reappearing  with 
Queen  of  the  Turf  which  F.  B.  0.  released.  He  had  pro- 
duced it  ten  thousand  miles  away.  One  night  three  years 
ago  we  stood  together  on  Broadway.  A  theatre-sign  spelled 
out  the  title  in  electric  lights.  Jack  grinned,  not  that 
success-smirk  which  anyone  can  offer,  but  the  hard,  happy 
spread  of  lips  you  see  on  a  winning  fighter's  face.  Two 
days  later  he  entered  my  office,  mighty  proud  of  a  con- 
tract to  produce  six  more  features  for  a  big  distributing 
concern.  Soon  he  sailed  over  curves  of  the  earth  to  make 
them.  He  promised  to  write,  but — well,  where  are  you. 
Jack?  China.^  Singapore,  Ceylon,  Hollywood,  Forty-second 
Street — where? 

And  Harrv  Southwell,  .the  wanderer  whose  knack  trans- 


2  s; 


Q.  Shirley  Mason  in  "South 
Sea  Love." 


Q  Shirley 
Waikiki 
once  a 
director, 
eyes. 


Mason     dances  at 
while  an   old  man, 
great  motion  picture 
looks   on   with  dull 


lated  so  many  of  0.  Henry's  gems  into  the  Esperanto 
of  the  screen.  We  drank  good-bye  in  the  Marble  Bar 
in  Sydney,  Australia.  Forever?  It  didn't  seem  so  then. 
But  now  if  I  mailed  a  letter  to  Thibet  or  Table  Bay, 
chances  of  its  finding  him  would  be  equal.  And  yet  to- 
morrow he  may  pound  my  back  right  here  on  Broadway. 

Studio  directories  have  lost  track  of  a  thousand  other 
nomads,  and  of  the  man  whom   Shirley   Mason  found. 

Now,  a  studio  directory  is  a  book  that  lists  mankind 
in  terms  of  actors,  actresses,  directors,  scenario  writers, 
editors  and  cinematographers;  an  unimaginative  Who's 
Who,  condensing  charms  to  one  line  below  the  tabulation 
of  careers.    Shirley,  for  instance: 

Hght.;  5;  Wght.,  94;  brown  hair,  light  gray  eyes. 
Never  a  mention  of  bronze  glows  answering  sun  or  spot- 
light until  wreathes  from  her  crown  a  refulgence  that  you 
see  in  the  same  wavy  illusion  as  heat  streaming  into  blue 
sky.  Nor  a  conjecture  of  what  .those  light  gray  eyes 
contain  far  down.  ...  Oh,  lots  and  lots.  ...  Be 
assured,  too,  that  Shirley's  ninety-four  pounds  constitute 
not  weight,  but  buoyancy  which,  so  a  million  of  us  fel- 
lows swear,  should  be  held  to  earth  by  a  strong  masculine 
arm,  preferably  ours,  placed  firmly  around  her  waist;  while 
five-feet  are  not  height  but  that  virtue  by  which  even 
we  pigmies  of  five-feet-six  may  feel  gigantic,  overpowering, 
dominant. 

Compared  now  with  the  girl  who  years  ago  hesitated 
on  the  brink  of  that  hurly-burly  at  the  Edison  Studios, 
wherein  was  born  elder-sister  Viola  Dana's  success,  The 
Stoning,  and  through  which  elder-sister  Edna  Flugrath  had 
preceded  both,  Shirley  must  be  regarded  as  a  promise  ful- 

26 


Idled  even  beyond  Slade  Cartney's  expectations;  and  in 
those  days  Cartney  had  little  time  for  predictions. 

Slade  Cartney?  No,  you've  never  heard  of  him  by  that 
name.  Something  must  be  spared  him;  in  this  tale  his 
identity,  although  even  he  has  lost  that. 

Here  was  a  man  harassed  into  premature  age  by  the 
Thespian  Siva  who  dazzles  a  youngster  with  grand  visions, 
whispers  of  the  stage,  its  lights,  successes— as  if  behind 
all  lights  there  were  no  shadows,  behind  one  success  no 
hundred  failures— and  after  twenty-five  years  discards  him, 
grayer  than  the  ghost  that  so  seldom  walked.    At  forty- 
five  Cartney  moved  with  a  sigh  amid  the  uncertainties, 
the  make-shifts,  the  primitive  talents  of  the  Edison  plant.' 
A  tall,  sapped  man,  he  peered  down  from  physical  emi- 
nence, and  beneath  white  hair  that  always  drooped  un- 
tidily across  his  forehead,  his  eyes  shone  with  quick  creat- 
ive impulse  or  faded  wearily  at  the  futility  of  all  things. 
He  directed  pictures  of  sorts— of  sorts  unrecognized  for 
their  art  in  those  days.     A   two-reel  comedy  produced 
in  a  week  would  be  less  riotous  than  Mack  Sennetts 
concurrent  Keystones;  therefore  unwelcome  to  the  public. 
But  for  all  that,  they  possessed  the  flair,  the  human 
essence  by  which  directors  today  seek  to  leaven  dramatic 
superfluities.    Cartney  was  ahead  of  his  time. 

A  three— or  four-reel  drama,  too,  would  finish  in  no 
race  of  trains,  fire-engines,  automobiles ;  no  rescue  ten  sec- 
onds before  the  bomb  exploded.  Instead,  he  sought  heart- 
punch,  the  play  and  interplay  of  human  passions  without 
excesses.    And  the  movie  world  decreed  his  efforts  tame. 

(Continued  on  page  74.) 


Glrom  RAGS 

to  RICHES 


0[  The  Fascinating  Story  Told  Again  of  the  Begin- 
ners Who  Are  Now  Gayly  Scintillating  Stars. 

By  Grace  YJngsley 


THAT  gay  little  godmother  of  Cinderella  has  been 
earning  her  salary,  or  her  cobweb  lace  and  dew 
jewels,  or  whatever  it  is  she  gets,  these  late  years, 
if  ever  a  godmother  did!    And  all  on  account 
of  the  movies.   Likewise  Dick  Whittington's  guardian  angel 
has  been  working  overtime.    For  how  many  stars  have 
risen  to  glorious  success  during  that  time! 

''Rags  and  riches"'  is  no  hyperbole.  It  is  meant  literally. 
Stars  who  a  few  years  ago  went  literally  hungry,  ragged 
and  without  a  home  now  own  estates,  cars  and  Paris  clothes. 
And  the  men  who  have  become  stars  own  apartment 
houses,  sport  cars,  and  instead  of  craps  they  play  polo! 

Harold  Lloyd,  you  remember,  played  around  in  some 
Hal  Roach  comedies.  And  in  those  days  his  great  ambition 
was  to  own  a  silk  shirt.  Just  one.  He  dwelt  with  his 
father  and  mother  and  brother  in  a  small  house,  and  he 
was  a  proud  boy  when  he  could  bring  home  five  dollars. 
Now  he  is  making  more  money  than  anybody  in  pictures, 
it  is  said — more  even  than  Charlie  Chaplin,  Mary  Pick- 
ord  or  Douglas  Fairbanks.  And  yet  only  seven  years  ago 
he  was  still  impecunious. 

No  player  had  a  harder  time,  perhaps,  than  Ramon 
Novarro.  He  helped  his  brother  run  a  grocery  store, 
ushered  in  the  Majestic  and  Philharmonic  Theaters  in  Los 
Angeles,  and  gave  piano  and  dancing  lessons.  Also  he  got 
a  job  dancing  in  a  picture  occasionally.  He  and  his  brother 
lived  in  a  funny  little  room  over  the  grocery  store.  Some- 
times they  ate  and  sometimes  they  didn't. 

He  was  always  very  serious  in  his  work.  He  ushered 
at  theaters,  it  is  said,  to  get  an  idea  of  American  acting. 
He  was  a  very  good  usher  except  when  he  became  too 
absorbed  in  what  was  going  on  on  the  stage. 

It  wasn't  really  until  Rex  Ingram  saw  his  possibilities 
and  gave  him  his  big  chance  in  "A  Prisoner  of  Zenda" 
that  Novarro  proved  himself.  Even  then  he  made  no  great 
hit,  but  Ingram  had  faith  in  him,  and  in  later  films  he 
arose  to  the  position  of  a  prime  favorite.  From  earning 
sometimes  $20  per  week,  sometimes  nothing,  as  an  extra, 
five  years  ago,  Ramon  now  receives  a  handsome  salary  in 
four  figures  per  week.  Once,  while  he  and  his  brother 
were  running  the  grocery  store,  they  had  a  week  so  lean 
there  were  no  profits;  they  couldn't  afford  to  eat  up  the 
stock,  and  so  both  found  themselves  literally  hungry. 

"We  used  to  live  on  crackers  and  cheese  sometimes," 
Ramon  said. 


"O  udolph  Valentino  fared  not  even  so  well  at  first. 

-^-At  the  time  he  was  dancing  in  the  prologue  to  Grif- 
fith's "Hearts  of  the  World,"  at  the  Philharmonic  Audi- 
torium, in  Los  Angeles,  he  had  not  done  anything,  and  was 
in  actual  want.  He  even  borrowed  make-up  from  his 
fellow-artists.  He  was  very  haughty  in  those  days.  Some- 
times he  would  speak  to  the  other  dancers — among  whom, 
by  the  way,  was  Carrol  Dempster — and  sometimes  he  would 
walk  past  them  without  seeing  them. 

But  though  Rudey  was  haughty,  found  it  difficult  to 
pay  his  debts  sometimes,  and  frequently  offended  friends 
and  foes  alike,  he  was  capable  of  acts  of  great  generosity, 
and  the  very  day  when  he  sent  word  to  a  hotel  where 
he  owed  a  bill,  saying  impudently,  "Well,  what  are  you 
going  to  do  about  it?"  he  paid  the  hospital  bill  of  a  man 
friend  who  had  been  hurt  in  an  automobile  wreck.  And 
once  in  those  lean  and  hungry  days,  he  was  invited  to 
a  dinner  party.  While  there,  somebody  spoke  disparagingly 
of  a  woman  friend  of  his.  He  rebuked  the  person  and 
walked  out  of  the  house — without  his  dinner! 

"_]Vj[Y  sister'  Shirley  Mason,  and  I  used  to  walk  a 
mile  to  the  old  Vitagraph  studio  every  day,  rain 
or  shine,"  said  Viola  Dana.  "I  came  all  wet  and  bedrag- 
gled one  day  and  the  late  John  Collins  ordered  the  ward- 
robe mistress  to  put  some  dry  clothes  on  me.  John 
Collins  was  a  director.    Afterward  he  became  my  husband." 

The  gorgeously  lovely  Alice  Terry— or  Alice  Taaffe,  as 
she  used  to  be  known,  Taaffe  being  her  real  name — has 
had  the  most  singular  experience  of  all,  perhaps.  She 
went  into  pictures  when  she  was  about  fourteen,  playing 
atmosphere  and  bits.  But  she  had  no  success.  D.  W. 
Griffith,  attracted  by  her  beauty,  attempted  to  teach  her 
the  art  of  motion  picture  acting,  but  for  some  reason, 
perhaps  a  genuine  lack  of  interest — she  did  not  make  a 
success.  This  certainly  is  not  from  lack  of  intelligence. 
She  has  one  of  the  most  brilliant  minds  to  be  found 
among  the  picture  stars.  She  was  proud,  modest,  sensitive, 
artistic — and  she  had  a  big  sense  of  humor. 

"I  played  down  at  the  Triangle  studio."  she  said,  "in 
a  picture  for  Reginald  Barker,  at  $7.50  a  day— just  atmos- 
phere— and  I  was  so  bad  I  couldn't  even  keep  my  job." 

It  was  while  working  with  Rex  Ingram  that  she  first 
began  to  show  talent.  Rex  had  implicit  confidence  in 
her.     That  was  while  he  was  at  Universal.     The  war 


27 


Q  Margaret  Livingston.  The 
red-headed  star. 


01  Jack    Holt    used    to    be  a 
mail  carrier  in  Alaska. 


carried  him  off;  the  two  did  not  hear  from  each  other;  Alice  went 
into  the  cutting  room  at  the  Lasky  studio,  until  her  eyes  gave  out. 

She  met  Ingram  by  chance  one  day;  the  old  friendship  was  re- 
newed. Ingram  went  to  work  for  Metro,  and  the  first  person  he 
thought  of  was  Alice  Terry.  Rex  had  been  hurt  in  a  fall  from 
an  airplane,  and  when  he  came  back  to  Hollywood,  he  set  up  a 
studio  for  modelling,  following; his  old  love  of  sculpture,  but  couldn't 
do  much  work.  Alice  and  her  mother  used  to  come  to  the  studio, 
and  cook  for  him  and  mend  his  clothes. 

Alice  Terry  has  been  offered  stardom  many  times,  one  of  the 
offers  coming  from  the  coveted  Lasky  studio,  but  she  firmly  declines. 
"I  don't  want  to  be  a  star,"  she  explains.  ''And  Rex  doesn't  care 
to  have  me  a  star." 

Now  Miss  Terry,  back  on  the  old  Triangle  lot,  now  the  Metro- 
Goldwyn-Mayer  studio,  is  earning  $1,000  a  week  in  the  leading 
feminine  role  of  The  Great  Divide.  She  remains  the  same  modest, 
natural,  charming,  drolly,  witty  girl  she  was  when  she  was  earning 
$7.50  a  day. 

ex  Lease  is  a  young  actor  fast  coming  into  his  own.  But  he 
has  had  a  long  struggle.  As  a  child,  he  danced  with  his  mother 
in  vaudeville.  In  between  pictures,  he  worked  at  anything  he  could 
find.  The  day  I  met  him  he  was  selling  some  beautiful  ostrich 
feathers  over  on  the  United  Studios  lot.  And  he  was  putting  his 
whole  soul  into  it. 

Rex  got  a  small  part  in  an  Ince  picture,  but  his  heart  was  to 
be  broken,  for  when  the  picture  was  shown,  he  had  been  cut  right 
out  of  it.  But  not  in  vain  had  he  done  his  best.  Finis  Fox  had 
seen  him  in  the  picture,  in  the  projection  room  at  the  studio,  and 
sent  for  him  to  play  the  role  of  the  young  minister  in  The  Woman 
Who  Sinned.    Lease  is  now  in  big  demand. 

Rex  says  that  during  his  "extra"  period,  he  washed  his  own  clothes, 
and  lived  with  a  number  of  other  extra  boys,  who  pooled  their 

funds  and  aided  each  other. 

Lovely  Estelle  Taylor,  who  ac- 
complished such  a  sensational  hit  in 
The  Ten  Commandments,  was  on  the 
stage  in  New  York  when  Robert 
Mclntyre,  now  casting  director  for 
Metro-Goldwyn-Mayer,  saw  her,  met 
her,  and  invited  her  to  visit  the 
World  Studios.  She  did,  and  was 
engaged  for  a  mere  bit  in  a  picture. 

01  Helen  Ferguson  has  come  a 
long  ivay  since  Essanay  days. 

01  Lois  JFilson  <u-as  selected  be- 
cause she  is  a  unique  type. 

01  Ramon     Novarro,     once  a 
grocery  boy. 


CI  Colleen  Moore 
sprang  from 
Chicago. 


Q  Carmel  Myers. 
One  of  D.  W. 
Griffith's  Finds. 

"Then  I  went  over  to  Vitagraph,"  she  explains,"  "where 
I  found  Virginia  Valli  and  May  McAvoy  playing  bits 
and  atmosphere.    It  was  after  that  that  I  went  to  Fox 

an"DSdmyadhard,uck  days,  I  wouldn't  send  home  for 
money,  because  my  parents  disapproved  of  my  film  career. 
I  lived  at  the  home  of  a  kindly  woman  of  the  Y.  W.  U  A., 
who  was  good  enough  to  furnish  cheap  rooms  for  a  number 
of  girls  who  couldn't  afford  to  live  in  New  York,  except 
under  some  special  financial  dispensation  such  as  tiers. 
We  were  all  struggling  for  some  artistic  end— some  music, 
some  painting,  some  acting-and  we  ate  in  a  large  dining 
room.  I  did  my  own  washing,  though  I  wasn't  supposed 
to.  And  I  used  to  leave  the  clothes  out  to  dry  in  my 
room  during  the  night,  hastily  concealing  them  in  the 
daytime." 

Whoever  will  forget  the  lovely  young  girl  doomed  to 
die  on  the  gallows  at  the  same  time  that  William  Farnum 
did  in  A  Tale  of  Two  Cities?  The  girl  was  Florence 
Vid'or  She  and  her  husband,  King  Vidor,  had  come  to 
California  from  Texas  in  a  Ford,  and  both  were  doing 
whatever  they  could  find  to  do  in  pictures.  She  was  ^Florence  vido 
earning  from  $3  to  $10  a  day.    She  starred  m  some  of  Texas>  bmsU 

her  husband's  pictures,  after  he  became  a  director,  and 
is  now  receiving  a  salary  of  something  like  $1,000  per  week. 

Q  Harold   Lloyd.    Now  makes 

more  money  than  any  other  01  Zasu  Pitts.   First  thorns — noiv 

star.  roses. 


d  Rex    Lease   threw   over  the 
four-a-day-stage. 


Flf  asu  Pitts  walked  a  thorny  path  to  stardom.    A  drab 
child  she  used  to  be,  sitting  on  a  bench  at  the  old 
Griffith  studio,  waiting  to  be  noticed. 

She  confessed  to  me  afterward  that  she  had  tried  to 
get  a  job  as  a  waitress,  but  had  failed. 

"They  said  I  wasn't  good-looking  enough!'  'she  laughed. 

It  was  as  extras  together  that  Colleen  Moore,  Gloria 
Swanson  and  Helen  Ferguson  started  their  careers  in  the 
old  Essanay  days  in  Chicago. 

Colleen  played  atmosphere  and  bit.  _ .  ' 

at  $5  a  day,  until  D.  W.  Griffith 
took  an  interest  in  her  and  sent  for 
her  to  come  to  California.  She  did 
some  good  work  for  him,  meanwhile 
living  with  her  father  and  mother 
in  a  modest  little  cottage.  Then  she 
went  to  the  Christie  comedies,  and 
later  Lasky  gave  her  some  work,  and 
finally  First  National  signed  her  to 
a  starring  contract. 

"I  used  to  get  fired  every  day 
almost,"  said  Helen  Ferguson,  "but 
I  would  always  come  back  next  day." 

The  first  time  I  met  Gloria  Swan- 
son  was  down  at  the  Triangle  Stu- 
dios, and  she  was  wearing  a  modest 
little  gingham  dress,  and  she  was 
going  back  and  forth  to  work  in  a  Viola  Dana. 

Chevrolet  car,  or,  when  the  Chev  found  her  all 

was  out  of  order,  on  the  street  car. 

She  had  gone  through  the  preliminary  extra  period,  had 
been  a  bathing  girl  with  Sennett,  and  had  just  begun  to 
be  spoken  of  as  a  "comer." 

TX/ITargaret  Livingston  had  a  hard  time  when  she  started 
in  pictures.  She  played  extra,  tramping  from  studio 
to  studio,  when  work  could  be  found.  Then  came  the 
famous  slump  of  four  years  ago,  and  Margaret  and  the 
girl  with  whom  she  lived  in  a  small  bungalow,  couldn't 
pay  their  rent.  They  were  going  to  be  put  out,  and  were 
all  packed  up,  when  they  were  invited  to  a  dinner  by 
some  admirers.  Huge  corsage  bouquets  of  orchids  with 
gold  pins  attached  awaited  them.  Margaret  excused  her- 
self as  having  a  headache,  smuggled  her  corsage  and  that 
of  her  friend  out,  sold  them,  and  ran  home  to  pay  the 
landlady. 

Another  time,  she  and  her  friend  were  invited  to  a 
dinner  party,  but  they  had  only  one  presentable  dress 
between  them.  So  the  friend  went  first,  came  home 
pleading  she  was  ill  at  the  end  of  the  second  course,  and 
Margaret  donned  the  gown,  first  changing  the  lace  collar 
ind  pulling  a  flounce  around,  went  to  the  dinner  and 
had  dessert! 

Norma  Shearer  went  from  pillar  to  post  in  New  York 
for  several  months,  until  Louis  B.  Mayer  sent  for  her, 
out  in  Los  Angeles.  She  played  extras  and  bits,  and  then 
parts,  and  then  came  the  hard  times  in  picturedom. 

"My  relatives  up  in  Canada  were  the  sort  of  people 
who  would  say,  'There,  she  is  the  sort  of  girl  that  will 
go  on  the  stage  if  we  don't  look  out,'  "  explained  Norma. 
"So  I  wouldn't  send  home  for  money,  of  course.  Mother 
and  I  lived,  in  a  little  room,  did  our  own  cooking ,  and 
washing  and  housework." 

Jackie  Saunders,  who  has  been  off  the  screen  some  time, 
but  made  an  excellent  come-back  in  Alimony,  and  is  now 
engaged  for  a  prominent  part  in  a  Thomas  H.  Ince  picture, 
started  out  with  Merriam  Cooper,  in  the  old  Biograph 
days. 

30 


John 

ivel. 


Collins 


"We  played  little  bits  and  atmosphere,  and  sometimes 
parts,"  said  Jackie.  "Merriam  and  I  came  west  with 
Mary  Pickford  and  Mabel  Normand.  We  had  been  guar- 
anteed $5  a  day,  with  a  little  extra  if  we  worked.  We 
were  also  paid  $4  a  week  to  eat  on!  We  girls  felt  awfully 
grand  if  we  happened  to  have  a  dress  made  especially 
for  us.  We  all  lived  at  cheap  boarding  houses  or  in  cot- 
tages, and  had  a  happy  time  of  it." 

When  I  first  met  Jack  Holt,  he  told  me  how  he  had 
been  mail  carrier  up  in  Alaska  in 
the  late  days  of  the  gold  rush.  Jack 
had  come  down  to  Universal  City 
to  do  cowboy  stunts  and  supply  at- 
mosphere. ' 

"IT'll  tell  you  where  you  can  reach 
me — through  my  father's  laun- 
dry!" 

Thus  did  Anna  May  Wong  non- 
chalantly give  her  address.  And  that 
was  after  she  had  attained  a  big 
measure  of  success,  too. 

"I  used  to  think  it  was  just  fun 
to  play  in  pictures,"  said  Anna  May. 
"Micky  Neilan  saw  me,  and  thought 
maybe  I'd  be  good.  I  wasn't  so  very 
ambitious,  but  I  liked  getting  $5 
a  day,  because  then  I  could  buy 
clothes  for  myself  and  my  family. 
But  now  I  really  am  ambitious." 
Lois  Wilson's  extra  days  in  pic- 
tures were  truly  days  of  tragedy. 

It  was  back  in  1915  during  the  San  Francicsco  Exposi- 
tion, when  Universal  took  her  to  the  exposition  because 
she  won,  the  .  beauty  prize  in  Birmingham,  Alabama,  and 
then  picked  her  from  the  winners  of  all  States  to  take 
a  part  in  a  picture.  Then  they  promptly  dropped  her. 
While  on  the  way  back  to  Alabama— a  complete  failure, 
she  thought— she  met  Lois  Weber  in  Chicago.  Miss  Weber 
brought  her  back  to  the  Coast  for  a  part  in  The  Dumb 
Girl  of  Portici.    Following  jthat  came  the  tragic  days. 

She  was  given  no  more  parts.  She  was  determined  to 
make  good,  anyway.  For  half  a  year  she  did  extra  work 
at  $2.50  to  $5.00  per  day.  Finally,  however,  she  got  a 
contract  at  $25  per  week  with  an  independent  company. 
But  after  three  weeks  she  was  fired.    More  dejection. 

She  did  extra  work  anywhere  she  could  get  it.  It 
was  while  doing  this  that  she  was  given  a  bit  as  a  dope 
fiend,  over  at  Universal,  and  no  less  an  artist  than  Lon 
Chaney  showed  her  how  to  put  on  her  first  bit  of  character 
make-up. 

J.  Warren  Kerrigan  was  looking  for  a  leading  woman. 
Scores  of  girls  thronged  the  waiting  room  of  his  offices 
in  the  studio  where  he  had  taken  space  to  produce  his 
own  pictures.  Kerrigan  himself  came  in  and  cast  his 
eye  over  the  bunch  of  feminine  loveliness  congregated 
there.  Thatj  eye  lit  on  the  lovely  Lois.  Lois  smiled — 
that  sweet,  alluring  smile  of  hers,  in  which  her  lips  half 
tremble.  Her  brown  eyes  smiled,  too.  That  settled  it. 
Lois  was  chosen  to  be  a  real,  hand-painted  lady.  She 
played  opposite  Kerrigan  in  Langdon's  Legacy,  a  Paralta 
picture.  It  turned  out  that  Kerrigan  had  been  watching 
Lois's  work  in  extra  parts  for  five  days,  together  w?!th 
that  of  other  extra  girls,  before  venturing  to  choose.  He- 
wanted  her,  he  said,  because  she  was  the  different,  well- 
bred,  college -girl  type. 

Playing  this  part  of  course  made  Miss  Wilson  as  an 
actress.  She  continued  opposite  Kerrigan  during  nine  pic- 
tures, and  then  was  contracted  by  Lasky,  who  have  had 
her  ever  since,  and  that  was  in  1918. 


^Hundreds  of  extra  girls  won  their  $7.50  at  the  elaborate  wedding  ceremony  in 
"Sacrifice"  wherein  Norma  Taltnadge  and  Eugene  O'Brien  make  another  joy- 
ous movie  marriage. 


heum  of  AN  EXTRA  GIRL 

Aj  Tola  to  Anne  Austin 


C[The  extra  girl  who  told  this  story  and  her  friend  arc  both  in  this  picture  with 
Rudy — just  think  of  it,  girls.' 


QHave  you  often  wondered  about  the  Extra  Girl  and 
her  picturesque  life?  Well.,  here  is  her  story  as  she 
told  it.  Miss  Austin,  as  a  good  reporter  should,  has  let 
us  hear  direct. 


NNE  AUSTIN  said,  "I  want  your  story.  We  want 
the  folks  who  are  on  the  outside,  trying  to  peep 
through  a  knothole  in  the  studio  fence,  to  see  the 
life  through  the  eyes  of  a  girl  who  has  not  yet 
succeeded — " 

"Say,  you  don't  think  I'm  a  failure,  do  you?"  I  come 
back  real  quick.  "Why,  I'm  going  to  land  right,  and  I 
don't  mean  maybe.  I've  learned  the  ropes  now  and  I've 
got  enough  experience — " 

"That's  what  we  want — your  experience,"  she  took  me 


right  up.  "And  don't  kid  us  about  it,  either.  Give  us 
the  real  low-down  on  this  business  of  being  an  extra  girl. 
Don't  ritz  the  others  who  aren't  in.  and  yet  don't  give  the 
profession  a  black  eye.  unless  it  deserves  it." 

Well,  that  was  a  pretty  large  order,  I'll  say.  But  me— 
I'm  sorta  fond  of  hearing  myself  talk,  and  since  the  editor 
told  me  to  write  it  exactly  as  I  would  tell  it  to  another  girl, 
why,  here  goes,  and  if  it  don't  suit  him  and  you  readers, 
it's  not  my  fault.   He  asked  for  the  truth,  and  here  it  is: 


<\Robert  Mclntyre,  the  star  picker  of 
Goldiuyn-Mayer  Studio.     He  sees 

.  cants  at  the  casting  luindov:  daily 
one  never  gets  away. 


the  Metro- 
150  appli- 


and  a  live 


<\M  a  y  McAvoy 
iuas  selected  from 
a  mob  of  extras 
by  Mr.  Mclntyre. 
Miss  McAvoy 
until  play  Esther 
in  "Ben  Hur." 


Q.E  I  e  a  n  0  r 
Boardman  ivas 
one  of  a  thou- 
sand appli- 
cants for  a 
movie  job. 


C[  William  Haines 
is  proving  the 
astuteness  of  Mr. 
Mclntyre's  judg- 
ment. 


I've  tried  the  picture  game  both  here  in  New  York  and  in 
Hollywood,  and  it's  my  opinion  that  a  girl  has  the  best 
chance  in  Hollywood,  where  there  are  studios  on  almost 
every  other  block  and  where  there's  a  sort  of  hail-fellow- 
well-met  spirit  among  the  players.  Here  in  New  York  you 
get  kinda  lost  in  the  crowd,  and  the  distances  between 
studios  are  so  great  that  you're  lucky  if  you  make  two 
or  three  calls  a  day.  Out  in  Hollywood  I've  made  the 
rounds  of  a  half  dozen  studios  in  a  day,  and  still  had  time 
enough  to  make  a  $75  Paris  creation  out  of  a  yard  and  a 
half  of  brocaded  metal  cloth,  picked  off  the  bargain  counter. 

I  was  born  in  Lake  Charles.  Louisiana — no  kidding,  there 
is  a  town  named  that,  and  it's  a  darn  nice  place,  if  you 
don't  get  the  movie  bug,  like  I  did.  Well,  I  left  Lake  Charles 
flat  when  I  graduated  from  high  school — yes.  I  am  edu- 
cated, even  if  I  don't  talk  like  it — and  I  worked  my  way 
across  the  country  to  California.    Oh,  it  was  easy  enough. 

I'd  clerk  in  a  store  in  one  town,  wait  table  in 
another,  and  run  an  elevator  in  the  next  burg. 
I'm  handy  and  strong,  or  I  never  would  have 
stuck  to  the  movie  game  as  I  have.  For 
believe  you  me,  girls,  it  takes  backbone  and 
starch,  as  well  as  a  pretty  face,  even  to  scrape 
a  bare  living  off  of  celluloid. 

It  took  me  three  months  to  get  to  Holly- 
wood, but  I  made  it  and  even  had  twenty-five 
dollars  to  throw  away  on  a  screen  test.  Take 
a  tip  from  one  who  knows — don't  take  any 
correspondence  lessons  in  make-up  or  screen 
acting  before  you  get  to  Hollywood,  and  you 
ought  to  know  better  by  the  time  you  get 
there  to  get  roped  in  by  any  of  them  fakers 


in  Los  Angeles.  Anyway,  I  wanted  to  see  how 
I'd  look  on  the  screen,  so  I  got  nicked  for 
twenty-five  bucks  for  about  that  many  feet  of  film, 
and  I  wondered  how  the  boys  back  home  coulda 
lied  like  they  did  about  my  looks.  It  was  terrible, 
so  I  didn't  show  it  to  the  casting  directors  after 
all — that  being  the  reason  I  was  having  it  made,  you 
know. 

Well,  the  first  thing  I  did  was  to  get  into  a  nice 
boarding  house  on  Western  Avenue,  near  Hollywood 
Boulevard.  I  wasn't  the  star  boarder;  I  was  just 
the  star  dish  washer  and  bed-maker,  but  I  didn't 
have  much  false  pride  left,  and  I  was  glad  enough  to 
earn  board  and  room  that  easy.  I  knew  it  couldn't 
last  long,  because  if  I  got  a  call  to  appear  at  a  studio 
at  eight  o'clock  in  make-up,  I  wouldn't  have  time 
to  make  up  beds,  and  wash  the  breakfast  dishes. 
But  it  tided  me  over  until  I  had  learned  to  make 
up  my  face  from  one  of  the  boarders,  who  had  been 
in  pictures  quite  a  while,  and  had  got  a  lot  of 
tips  on  whom  to  call  on,  and  how  to  act.  I  also 
had  a  lot  of  cheap  photographs  made — at  "pro- 
fessional rates."  When  you're  new  at  the  game 
those  words  sound  like  music  in  your  ears.  I  had 
profile  and  full  face  and  three-quarters  views  made, 
and  left  one  of  each  with  all  of  the  casting  direc- 
tors of  the  studios  and  went  around  to  the  agencies 
and  listed,  filling  out  cards  that  would  make  the 
census  look  like  a  polite  inquiry  about  your  health. 

I  had  an  awful  funny  feeling,  knowing  that  all 
those  strange  men  had  the  goods  on  me  like  that, 
but  after  I'd  been  in  Hollywood  a  while,  I  got 
wise — those  birds  didn't  care  enough. about  me  to 
read  the  cards,  except  when  they  were  looking 
through  their  files  for  small,  slight  girls,  flapper 
type,  brunette,  bobbed  hair,  pretty.  They  make 
out  duplicates  of  the  cards  and  file  them  under 
different  headings.  For  instance,  they  filed  me  as 
"small  brunette"  and  as  a  "flapper"  and  as  "pretty 
young  girl."  Naturally  I  was  one  of 
about  a  million  more  or  less,  but  if 
the  casting  director  had  a  call  for 
twenty-five  flappers  for  a  bathing 
beach  scene,  he  might — just  might — ■ 
you  know,  pick  my  card  out  and  ask 
me  to  come  in  and  be  looked  over. 
I'd  have  to  come  with  a  bathing  suit 
to  see  if  I'd  do  for  the  Sennett  stuff. 
See  how  it  works? 

Well,  the  trouble  with  me  was  it 
didn't  work  often  enough!     If  I'd 
been  some  special  type,  not  just  like 
most  of  the  other  pretty  girls  in 
Hollywood,  I  might  have  got  more 
calls,  but  there's 
another  side  to  it. 
If  you're  a  freak, 
you  get  more  work 
as  an   extra,  but 
you're  pretty  sure 
to  stick  right  there, 
or  maybe  get  fea- 
tured in  comedies. 
Why,  I  knew  one 
bozo  that  hit  on 
the  plan  of  grow- 
ing a  brush  —  a 
beard,  you  know 
— and  say,  he  had 
the  niftiest  foliage 


Q^Alan  Crosland. 
He  can  tell  a 
beautiful  n^oman 
but  he  can't  tell 
her  much. 


ClLitlle  Nelly  Savage 
in  ''The  Sainted 
Devil."  This  is  her 
first  picture  in  any 
movie  magazine — 
but  not  her  last. 


C[  U'lien  a  qirl  first  gets  a  chance,  she 
finds  the  more  experienced  extra 
airls  are  glad  to  help  her  luith  the 
all-important  make-up. 


33 


of  any  man  in  Hollywood.  And  he  was 
only  about  thirty  years  old.  He  got 
called  every  time  they  wanted  beards, 
but  has  he  got  a  chance  to  be  a  leading 
man  or  a  star?  Not  in  a  million  years, 
with  spinach  on  his  jaw,  and  yet  he  don't 
dare  shave,  for  fear  he'd  starve! 
Believe  me,  this  is  a  funny  game! 
Well,  me  and  two  other  girls  that  was 
working  pretty  regular — say  three  or  four 
days  a  week  at  five  to  seven-fifty  a 
day,  minus  commission,  decided  to  cut 
expenses  and  enjoy  life  at  the  same  time. 
An  actor  that  had  moved  to  New  York 
•owned  a  shack  in  Laurel  Canyon — where 
all  these  naughty  love  nests  we  read 
about  are  said  to  be — and  we  rented  it 
through  a  real  estate  man  awfully  cheap, 
and  fixed  it  up  real  pretty  with  a  few 
yards  of  cretonne.  He  had  it  furnished 
in  rustic  stuff,  and  we  girls  didn't  try  to 
put  that  feminine  touch  in  it  too  much. 
Laurel  Canyon  is  not  close  to  a  street 
car,  you  know,  so  we  had  to  bum  rides 
from  automobiles  going  into  the  canyon, 
and  sometimes  we  had  to  finish  the  ride 
in  a  walk,  if  you  know  what  I  mean, 
but  picture  folks  are  pretty  decent  about 
their  cars — everybody  has  one  out  there 
—and  we  managed  to  get  home  every 
night,  especially  as  one  of  the  girls  had 
a  sweetie  who  owned  a  near-car. 

Everything  seemed  to  be  jake  with  us, 
for  we  was  living  on  about  ten  dollars  a 
week  for  the  three  of  us,  not  counting 
the  meals  that  all  girls  know  how  to  at- 
tract. I  was  getting  three  days  a  Week 
on  an  average,  mostly  through  the  Serv- 
ice Bureau  on  Tenth  and  Hill  streets  in 
Los  Angeles,  and  the  other  girls  were 
doing  about  the  same.  We  was  getting 
together  a  bunch  o'  clothes  that  would 
have  made  the  Queen  of  Sheba  jealous, 
and  all  of  us  thought  we'd  be  stars  be- 
fore the  year  was  out. 

Then  I  got  what  looked  like  a  big 
chance.  A  star  I  Was  working  with  on 
a  big  ballroom  set  one  day  got  her  dress 
on  fire  from  a  cigarette  she  had  lighted, 
and  I  was  the  little  heroine  who  put  it 
out  for  her  before  anybody  else'd  no- 
ticed it.  We  got  to  talking  then,  and 
she  discovered  what  I'd  known  all  along 
—that  we  looked  a  lot  alike.  I  won't 
tell  her  name,  because  stars  never  want 
the  public  to  know  they  use  doubles,  but 
she  told  me  they  was  going  to  film  a 
big  scene  on  the  water— the  star  was 
billed  to  do  an  Annette  Kellerman  to 
save  the  life  of  the  hero.  And  the  poor 
girl  couldn't  swim  a  stroke.  And  there'd 
have  to  be  some  pretty  close  shots,  show- 
ing her  swimming  and  struggling  with 
the  dazed  man. 

Sure  I  took  it.  Like  a  shot.  I  can 
swim  like  a  fish,  and  I  didn't  care  how 
dangerous  the  stunt  was. 

They  decided  at  the  last  minute  to 
make  the  picture  in  New  York  and  when 
the  star  asked  me  if  I'd  come  along  and 

34 


0  Rudolph  Valentino  made  of  Beaucaire 
a  gracious  host  for  a  number  of  am- 
.  bitious  breakers-in. 

double  for  her,  you  can  bet  I  jumped 
at  the  chance,  even  if  it  did  mean  leaving 
Hollywood,  where  the  casting  directors 
would  admit  on  being  hard  pressed  that 
they  had  seen  me  somewhere — even 
though  they  couldn't  remember  just 
where. 

We  got  to  New  York  in  April,  1923, 
and  it  was  still  pretty  cold  weather  when 
we  come  to  the  big  water  scene.  And 
believe  me,  the  Atlantic  ain't  the  Pacific. 
The  Gulf  Stream  must  have  wandered  off 
and  got  lost  that  week,  for  I  worked  in 
water  that  would  have  froze  the  leaves  of 
an  ice  plant.  I  was  all  made  up  to  look 
like  the  star's  twin  sister,  and  she  sat 
around  on  the  nice  warm  sand  under  a 
pretty  red  parasol  and  watched  me  do 
my  stuff.  All  she  had  to  do  was  to  get 
ber  bathing  suit  wet  under  a  warm 
shower  and  climb  up  on  deck  and  emote 
over  the  hero.  But  I  didn't  blame  her; 
I  wouldn't  have  risked  pneumonia  myself 
if  I  had  been  in  her  place. 

Well,  I  got  a  hundred  a  week— for  one 
week — and  double  pneumonia  out  of  that 
job.  The  studio  was  pretty  decent. 
They  paid  the  hospital  and  doctor  bills, 


but  when  I  come  out  six  weeks  later  I 
was  a  pretty  sad  looking  wreck. 

Alone  and  friendless  and  too  thin  to 
work !  And  in  New  York !  Gee,  if  Lake 
Charles  had  ever  looked  good  to  me  be- 
•  fore,  it  looked  like  Heaven  then.  I  was 
just  on  the  point  of  wiring  for  a  ticket 
home  when  I  met  a  girl  who  has  been 
the  best  friend  I  ever  had. 

I  was  warming  a  bench  in  the  Cham- 
berlain-Brown Casting  Agency  on  Forty- 
fifth  Street,  hoping  they'd  have  a  call  for 
■fea  human  skeleton  with  pretty  eyes  and 
||P  curly  bobbed  hair,  when  one  of  the 
|F  prettiest  girls  I've  ever  seen  in  my  life 
came  and  took  the  chair  next  to  mine. 
Gee!     She  looked  like  a  Norse  god- 
dess or -one  of  them  Russian  countesses, 
or  something  like  that.    Tall,  five  feet 
seven  in  her  silk  stockings,  and  with  long 
honey-colored    hair    looped    in  shining 
braids  over  her  ears — just  like  Natacha 
Rambova  does  her  hair.    She  give  me 
one  long,  sleepy  look  out  of  her  grey- 
green-blue  eyes,  and  I  was  as  hard  struck 
as  if  I'd  been  a  village  sheik. 

We  got  to  talking,  as  girls  do  in  a 
casting  office.  Name  was  Nelly  Savage, 
and  she  said  she  liked  to  work  in  pic- 
tures in  between  stage  engagements  and 
even  while  she  was  appearing  at  the  Hip- 
podrome or  in  the  Follies. 
•  Gosh!  I  thought  I'd  pass  out  at  the 
mere  thought  of  talking  easy  and  nat- 
ural with  a  Follies  girl.  She  said  she  had 
been  a  dancer  for  years  with  Fokine's 
Ballet.  You  know  Fokine  furnishes  num- 
bers for  all  the  big  revues. 

"I  guess  all  the  producers  just  run 
after  the  Follies  girls  with  contracts,"  I 
said.  "I  suppose  you've  had  a  lot  of  big 
parts  in  pictures." 

"Being  in  the  Follies  doesn't  mean 
much  in  pictures,"  she  said,  and  you 
could  have  knocked  me  down  with  that 
feather  people  are  always  talking  about. 
"A  Follies  girl,  unless  she  happens  to  be 
just  lucky  like  Jacqueline  Logan  or  Billie 
Dove,  has  to  go  through  the  mill  like  any 
other  extra  girl.  I'm  here  today  to  get 
work  in  a  picture — anything." 

Well,  that  dashed  me  pretty  low.  There 
I  was,  nothing  but  a  curly-headed  little 
flapper,  no  prettier  than  most  of  the 
regular  run  of  pretty  girls  on  Broadway, 
nc  special  talent  except  for  swimming, 
and  only  fair  as  a  ballroom  dancer, 
though  I'd  thought  I  was  the  Isadora 
Duncan  of  my  home  town.  And  there 
was  a  beautiful  Follies  girl,  who  talked 
with  a  lovely  English  accent,  and  could 
dance  well  enough  to  be  in  Fokine's  Bal- 
let and  yet  she  said  she'd  been  bucking 
the  picture  game  for  two  or  three  years 
and  was  still,  an  extra. 

It  made  me  pretty  sick  to  get  wise  to 
myself  like  that,  and  I  was  just  about 
to  stagger  on  off  and  die  or  something, 
when  the  casting  director  called  us  both 


up  and  gave  us  orders  to  report  at  Famous 
Players  studio  the  next  morning  at  eight, 
in  make-up! 

It  was  a  society  picture  and  Nelly  was 
to  be  in  evening  dress — Famous  was 
to  furnish  costumes — and  I  was  to  be  in 
a  street  scene  supposed  to  be  on  the 
lower  East  Side. 

Nelly  and  I  took  to  each  other  right 
off.  I  suppose  she  was  sorry  for  me,  and 
wanted  to  help  me.  Well,  she  did  all 
right!  She  gave  me  a  lesson  in  how  to 
make-up  so's  my  illness  and  thinness 
wouldn't  show  up  so  bad.  I'd  made  up 
plenty  of  times  in  Hollywood,  of  course, 
but  I'd  never  had  a  real  artist  take  me 
in  hand  before.  And  I'd  always  spent 
a  lot  of  money  on  expensive  grease  paints 
and  all  sorts  of  truck  that  the  drug  stores 
out  there  make  you  buy.  She  helped  me 
stock  up  that  very  afternoon.  I  bought 
some  No.  V/2  grease  plaint,  and » she 
bought  No.  2 — she  hadn't  worked  in  a 
picture  in  quite  a  while  and  needed  a 
new  outfit — and  I  bought  brunette  the- 
atrical face  powder,  which  is  cheap  and 
good,  and  she  bought  flesh,  as  she's  a 
blond.  She  showed  me  how  to  blend  in 
the  grease  paint  and  how  to  use  the  red 
to  the  best  advantage.  No  lines  around 
the  eyes,  and  she  wouldn't  let  me  bead 
my  eyelashes.  I  just  used  a  good  black 
mascara  and  worked  it  into  the  lashes. 
Leichner's  gray  above  the  eyes  is  all  you 
need. 

We  met  at  the  subway  the  next  morn- 
ing at  half  past  six,  and  went  out  to 
A_storia  together.  The  Famous  studios 
are  out  there  on  Long  Island,  you  know 
— it's  not  far,  just  abt»ut  twenty  minutes 
from  the  Grand  Central  station,  by  sub- 
way. We  got  to  our  dressing  rooms  by 
seven  and  spent  a  solid  hour  making  up 
and  choosing  our  costumes.  Then  we 
had  to  parade  up  and  down  before  the 
casting  director  to  see  if  we'd  do.  I  be- 
lieve if  he'd  sent  me  off  the  set  then,  as 
not  being  suited  to  the  scene,  I'd  have 
give  up  right  then  and  gone  back  to  Lake 
Charles.  But  Mr.  Cohill— that's  the  cast- 
ing director  at  Famous — said  we'd  do, 
though  he  wasn't  any  too  enthusiastic 

j  about  it,  and  we  worked  for  two  days. 
The  reason  we  were  used  at  the  same 

;  time — usually  interiors  and  street  scenes 
aren't  made  anywhere  near  the  same 
time — was  that  the  script  called  for  a 
large  party  of  society  people  to  go  slum- 
ming in  a  fleet  of  fine  cars.  They  leave 
a.  swell  ball  about  midnight  and  bust  into 
a  party  on  the  lower  East  Side.  Nelly 
and  I  are  just  atmosphere — among  those 
present  you  know,  when  the  big  mixup 
comes  and  the  swells  get  kicked  out  of 
the  East  Side  party  and  even  mix  it  in 
the  street.   You  see  they  had  to  have  the 

1  the  same  set  of  people  for  both  the  ex- 
teriors and  the  interiors  and  they  kept 


Q  This  is  Elsie  Tarron — no  longer  an  extra 
girl,  but  a  Scnnctt  success. 
Bathing  suits  are  important  costumes  for 
beginners.  One  girl  "doubled"  for  a  star 
and  took  an  icy  plunge.  A  grim  jest  of 
Fate  gave  her  double  pneumonia. 

us  together,  though  we  didn't  have  to 
work  all  of  one  day. 

That  was  my  first  experience  in  a  studio 
in  New  York  and  I  feel  like  I  owe  the 


good  start  I  got  then  to  Nelly  Savage. 
If  she  hadn't  told  me  her  own  story,  I'd 
probably  have  gotten  cold  feet  and  gone 
home.  But  when  I  saw  that  she  was  de- 
termined to  stick  it  out  in  spite  of  hard 
luck,  I  was  kinda  ashamed  to  make  a  dive 
for  Lake  Charles. 

She  landed  her  first  job  in  pictures 
about  four  years  ago,  when  she  was  too 
tall  for  her  age  and  dressed  all  wrong. 
She's  the  mysterious,  exotic  type  and  she 
was  making  the  mistake  of  trying  to  look 
like  an  ingenue.  Anyway,  she  got  a 
call  for  a  slapstick  comedy,  and  earned 
her  first  five  dollars  in  pictures  by  jump- 
ing out  of  a  hayloft  down  into  the  cow 
stalls.  She  landed  on  a  cow's  back  and 
was  almost  scared  to  death.  Then  they 
never  released  the  comedy  because  the 
company  went  broke  before  it  was  fin- 
ished., 

That  seems  to  be  the  way  most  of  the 
time.  You  get  a  dandy  chance  to  show 
your  stuff,  even  grab  off  a  close-up  once 
in  a  while,  and  then  they  find  they've 
shot  about  ten  times  as  much  stuff  as 
they  can  use  and  they  cut  your  whole 
sequence  out. 

Nelly  has  seen  herself  in  pictures  more 
than  I  have  though.  She's  got  stills 
showing  her  in  Enemies  of  Women,  which 
used  a  number  from  the  Ziegfeld  Follies 
in  which  she  was  dancing,  and  in  Under 
The  Red  Robe  and  Monsieur  Beancaire. 
But  I'll  tell  about  Beaucaire  later,  be- 
cause I  was  in  it  too. 

Nelly  got  bit  bad  by  the  movie  bug 
after  she'd  worked  in  Enemies  of  Women, 
so  she  just  camped  at  the  Cosmopolitan 
Casting  office,  waiting  for  a  chance  to 
see  Mr.  Elmer,  the  casting  director.  She 
says  he'd  duck  out  the  other  door  to  his 
office,  and  never  let  the  bunch  waiting 
for  him  catch  a  glimpse  of  him. 

But  she  caught  him  at  last,  after  days 
of  waiting,  and  made  him  look  at  her 
photos.  He  put  her  on  a  list  of  extra 
girls  to  be  shown  to  -  Mr.  Alan  Cros- 
land,  the  director.  Lucky  for  her,  Mr. 
Crosland  had  been  director  of  Enemies 
0)  Women  and  he  remembered  her  as  a 
Follies  girl  and  took  her  on  for  Under 
The  Red  Robe. 

Nelly  is  so  beautiful  and  so  distin- 
guished looking  that  a  director  can't  help 
noticing  her.  Mr.  Crosland  picked  her 
out  to  do  a  scene  with  Robert  Mantell  as 
Cardinal  Richelieu.  She  had  to  beg  for 
the  life  of  her  husband.  The  other  ex- 
tras envied  her  something  awful,  but 
they  was  nice  about  it  and  told  her  they 
was  sure  she'd  be  a  star  soon.  She 
couldn't  take  part  in  any  of  the  mob 
because  she  is  such  a  distinct  type  that 
she  would  have  been  very  notice- 
ticeable.  Well,  guess  what  she  got  out 
of  that  "bit"!  A  bad  case  of  Klieg 
eyes  from  her  first  close-up.  lost  her 
chance  to  work  as  an  extra  for  the  rest 


m 


of  the  picture,  and  found  out  when  the  picture  was  re- 
leased that  the  whole  sequence  had  been  cut  out!  Gee, 
mates,  it's  a  hard  game,  but  it's  lots  of  fun.  Nelly  says 
she's  glad  it  happened,  for  it  proved  to  her  that  she  did 
stand  out  of  the  mob  and  she  got  to  see  her  Work  in  the 
rushes — you  know,  they  run  off  the  day's  work  in  the 
piojection  room  every  night.  And  she  learned  what  her 
mistakes  in  make-up  and  technique  were — or  some  of 
them  at  least,  and  she  found  out  a  funny  thing.  She  says 
she  saw  in  herself  all  the  characteristics  she  hates  most  in 
other  people!  And  she  had  an  awful  job  ahead  of  her  to 
-get  rid  of  them  and  make  her  screen  self  what  she  wants 
it  to  be. 

I  guess  you  think  it's  funny  I'm  talking  more  about 
Nelly  Savage  than  I  am  about  myself,  but  it's  easier  to 
write  about  her,  because  she's  so  much  more  interesting 
than  I  am,  and  she's  had  a  little  success,  while  I  haven't 
— yet. 

.  Since  I  worked- with  her  in  Monsieur  Beaucaire,  I  guess 
it's,  all  right  to  tell  you  about  her  experience,  for  it's  mine, 
too,  except  the  success  part.    Gee,  she  was  lucky! 

Nelly  had  quit  the  Follies — after  sixty  solid  weeks  of 
them! — and  had  gone  into  Casanova,  in  which  Lowell 
Sherman  was  started.  One  person's  hard  luck  is  another 
fellow's  gain  in  this  business,  and  to  this  day  Nelly  says 
she  can't  feel  properly  sorry  that  Gypsy  O'Brien  had  ap- 
pendicitis when  she  did  and  had  to  leave  the  cast  of  Cas- 
anova. Nelly  had  understudied  the  part,  which  was  next 
to  the  lead,  opposite  Lowell  Sherman.  And  they  let  her 
play  it.  She  says  Mr.  Sherman  was  a  peach  to  her,  helped 
her  every  way  he  could. 

One  night  she  saw  Rudolph  Valentino  and  his  wife, 
Natacha  Rambova,  in  a  box,  and  she  heard  later  they 
were  interested  in  her.  Then  Mr.  Lasky  and  Mr.  Zukor 
went  to  see  the  show  on  the  very  last  night  of  its  run. 
She  was  crazy  with  excitement — expected  to  be  called  out 
to  Famous  for  a  try-out  for  Rudy's  picture,  Beaucaire. 
But  nothing  came  of  it  then  and  she  got  a  try-out  for 
the  part  of  the  Madonna  in  The  Miracle,  that  marvelous 
stage  play  that  Morris  &  Gest  put  on.  She  was  one  of 
many  that  were  tried  out,  but  Lady  Diana  Manners  got 
the  part.    Then  came  a  call  from  Famous! 

She  went  out  to  see  Mr.  Cohill,  who  took  her  to  Rudy's 
wife,  who  is  the  big  noise  around  Famous  when  Rudy's 
working.  They  have  orders  to  do  anything  Mrs.  Valentino 
says.  She  designed  most  of  the  costumes — both  Rudy's 
cute  satin  britches  and  the  court  ladies'  costumes. 

Nelly  does  her  hair  the  same  as  Mrs.  Valentino,  aa  I 
said  before,  and  that  must  have  made  a  hit  with  Natacha, 
for  she  give  Nelly  the  part  of  the  Duchess  Choiseule- 
Romanet — gee,  I  hope  that's  spelled  right! — and  if  you've 
seen  the  picture  you'll  sure  remember  Nelly!  She  was  the 
duchess  who  showed  her  legs  to  the  French  court  and  got  a 
calling  down  from  Madame  Pompadour.  And  she's  also 
the  duchess  that  Rudy  flirts  with  when  he's  playing  his 
guitar  to  the  king  and  the  court. 

I  guess  we  both  must  have  made  a  hit  with  Mrs.  Val- 
entino, for  she  took  us  on  for  The  Sainted  Devil.  If  NeUy 
had  looked  Spanish  enough  she'd  have  had  a  big  part, 
Natacha  told  her. 

Talk  about  luck!  Nelly  and  I  were  in  on  the  accident 
which  got  Helene  D'Algy  into  The  Sainted  Devil.  We 
was  eating  in  the  studio  restaurant  out  at  Famous  one 
noon,  and  Rudy  and  his  wife  were  at  the  next  table. 
Paulette  Duval  was  at  our  table  too,  and  Helene  D'Algy, 
who's  Spanish  and  as  pretty  as  Rudy  is  handsome,  come 
into  the  restaurant,  looking  awfully  glum.  She's  just  been 
to  the  casting  director  and  had  been  told  there  was  noth- 
ing doing.  When  she'd  finished  eating  she  come  over  to 
our  table  to  speak  to  Paulette  Duval,  and  then  went  on 


out.  Mrs.  Valentino  sent  her  secretary  over  to  our  table 
to  ask  who  that  pretty  brunette  was,  and  Nelly  went  over 
with  Paulette  to  tell  her  about  Helene. 

Well,  everybody  knows  that  Helene  got  the  part  of  the 
bride. 

I  had  a  good  break  in  The  Sainted  Devil  too.  Being 
dark,  I  fitted  into  the  Argentine  scenes  just  fine,  and  flirted 
with  Rudy  as  be  passed  through  the  streets  of  the  village. 
Hope  some  of  it  shows  in  the  finished  film! 

Once  in  Beaucaire  Nelly  and  I  both  worked  from  eight 
o'clock  one  morning  until  five  o'clock  the  next  day,  with- 
out stopping  except  for  meals.  In  The  Sainted  Devil  we 
worked  from  eight  o'clock  one  morning  until  two  the  next. 
We  got  paid  for  three  days'  work  in  one,  which  made  it 
worth  while  to  lose  one  night's  sleep.  They  treated  us 
awfully  good — served  a  swell  hot  supper  from  Sherry's  and 
kept  us  cheered  up  with  one  of  the  best  jazz  orchestras 
you  ever  heard. 

Well,  I  guess  you're  wondering  how  I  get  my  jobs.  It's 
easy  to  tell  about  a  job  after  you  get  it — but  oh,  boy,  get- 
ting it! 

I've  found  the  best  way  to  do  is  to  go  to  the  casting 
offices  of  the  studios  when  they  ain't  casting.  Nelly  give 
me  that  tip  and  it's  a  gogd  one.  You  see  when  they're  cast- 
ing they're  nearly  crazy — the  casting  director's  short  with 
you  and  won'tjook  at  your  pictures,  and  is  depending  on 
his  files  to  find  what  he  'wants.  Everything's  in  con- 
fusion, and  if  you  try  to  talk  to  him  then  you'lj  make 
him  mad  and  maybe  he  won't  remember  you  the  next  time. 

Nelly  and  I  make  the  rounds  of  the  studios  when  we 
know  they  ain't  casting  and  if  we've  already  left  our  pic- 
tures, we  don't  have  much  trouble  getting  to  see  the 
casting  director.  He's  usually  in  a  pretty  good  humor 
and  he'll  sit  and  chin  with  us  a  while  and  ask  us  about 
our  past  experiences,  and  things  of  that  sort.  Then  if  we've 
made  a  good  impression,  he's  pretty  likely  to  remember 
us  when  he  wants  our  type. 

C~\e  course  we  go  to  the  casting  agencies  downtown  too. 

You  can't  afford  to  let  them  forget  you.  I've  got  my 
pictures  on  file  with  Ben  Weiss,  on  Forty-sixth,  and  at 
Jess  Smith's  agency,  on  Park  Ave. — he  used  to  be  at  112 
West  44th  Street,  and  many  a  call  I've  got  from  him. 
There's  a  lot  of  agencies,  but  these  and  Chamberlain-Brown's 
usually  supply  me  with  my  calls.  But  I  get  most  of  my 
work  through  the  studios  direct. 

Am  I  glad,  I've  stuck  it  out  a  year  and  a  half  here 
and  six  months  in  Hollywood?  Two  years  and  not  a 
success  yet,  I  bet  you're  saying. 

Well,  what  of  it?  I'm  having  a  mighty  good  time, 
seeing  life,  with  plenty  of  leisure  on  my  hands  to  read  and 
study — if  I  wanted  to — and  New  York  to  play  around  in. 
It's  not  so  bad — even  if  I  never  make  a  smashing  big 
success.  But  that's  why  I  told  you  about  Nelly  and  Helene 
D'Algy.  They've  struck  pay  dirt,  and  they  didn't  do  it  by 
gold-digging  either!  And  what's,  to  prevent  me  from 
doing  the  same  thing,  if  I  stick  to  it  long  enough?  Gee, 
the  breaks  are  all  in  my  favor!  -I've  got  looks — if  I 
wasn't  writing  this  anonymously  I  couldn't  say  that — and 
I've  got  pep  and  personality,  and  I'm  little  and  cute,'  and 
I  do  say  it  as  shouldn't. 

Hey,  wait  a  minute!    The  phone's  ringing.     Maybe — 

Oh,  forevermore!  it  was,  it  was!  Isn't  that  funny? 
Just  what  I  was  writing  about!  I  hope  the  editor  doesn't 
turn  this  down  just  because  I've  got  a  chance  at  last  to 
get  out  of  being  an  extra  girl.  Yeh,  that  was  a  call  from 
Mr.  Shipman's  office.  I  was  an  extra  in  The  River  Road 
and  the  director  wants  to  give  me  a  screen  test  to  see  how 
I'd  do  for  a  role  they  have  in  mind  for  me  in  their  next 
picture.  Don't  know  the  name  of  it  yet!  But  it's  a 
chance !     I've  stuck  my  head  above,  the  mob ! 


3o 


Cross  Word 
Puzzles 


'TP HE  cross  word  puzzle  craze  which  has  insidiously  worked  itself 
into  the  lives  ofiVew  Yorkers,  has  reached  the  moving  picture  lots. 
At  a  moving  picture  studio,  one  of  the  principle  occupations  is 
waiting  for  somebody  to  fix  something  so  that  they  can  shoot  a  scene. 
It  was  during  one  of  these  periods  that  Betty  Blythe,  with  her  queenly 
grace  at  rest,  and  her  snappy  little  mentality  at  work,  decided  that  she 
would  try  a  cross  word  puzzle.  One  thing  led  to  another,  the  extra 
girls  heard  of  the  idea — and  of  course  an  extra  girl  has  to  do  every- 
thing that  a  star  does — and  now  in  every  motion  picture  studio,  you 
can  hear  propounded  the  brain-racking  problem:  "What  is  a  word  of 
three  letters  which  means  elongated  fish?"  Wigs  are  pushed  awry  and 
the  make-up  is  furrowed  on  many  brows  until  the  thought  comes  that 
an  eel  could  wriggle  into  that  space. 


Easy  Ones  For  Beginners 


H 

1 

o 

2 

P 

3 

E 

i 

4o 

X 

5P 

3 

6E 

4 

Hope  Hampton's  Puzzle 


1 —  Japanese  sashes 

2 —  Animal's  skin 

3 —  Watched 

4 —  To   take  orders 

5 —  To  heap 

6 —  Set  up  (abbr.j 


1—  A  Star 

2 —  Tune 

3 —  Taking   a  chance 

4 —  Persian  wine 


1—  To  fall 

2—  By  air 

3 —  A  metal 
A — Without 


1 —  Grasp 

2 —  Ill-mannered 

3 —  A  thought 

4 —  Pinnacle 


In  case  you  have  not  done  a  cross  word  puzzle — 
The  numbers  on  the  diagrams  indicate  the  beginnings 
of  words.  Where  figure  2  appears  in  the  box,  that  indicates 
the  beginning  of  a  word.  On  the  list  below  the  puzzle,  you 
will  see  that  the  word  that  should  occupy  this  space  means 
thus  and  so.  But  in  the  vertical  column,  you  will  find  that 
the  same  space  and,  in  fact,  the  same  initial  letter,  belong 
to  a  vertical  word  which  has  quite  a  different  meaning.  It 
is  quite  easy  to  begin  but  it  is  very  difficult  to  finish. 

(The  answers  are  in  the  back  of  the  book  but  do  not 
look  if  you  can  help  it;) 


HORIZONTAL 

2 — A  Neck  Piece 

6 —  Without 

7 —  Inside  the  Husk 

8—  At 

9—  Me 

11 —  To  revolve 

12 —  The  God  in  Man 

16 —  Artist's  Degree 

17 —  Purpose 

18—  Suffering 

19—  Year  (Lat.) 

20 —  Acting 

22 — Poor  Indian 

24—  Also 

25 —  Former 

26 —  A   Point   of  the  Compass 


VERTICAL 

1—  A  Fact 

2—  Was 

3—  A  Cereal 

4 —  Music  and  Painting 

5 —  A  Pronoun 
9— Edging 

10 —  Adolescent 

11 —  Faucet 

12 —  The  Lady  of  the  Lion 

14 —  First  Line  of  Defense 

15 —  The  Lion 

21 — Electrical  Unit 

23 — To  Encourage 

25 — Printer's  Measurement. 


How  is  the  Supply 


C[You  see  hou>  it  is.  Mr. 
Sennett  uses  up  girls  so 
fast,  av/iat  with  some 
getting  famous  and 
some  getting  married, 
that  he  has  to  have  a 
fresh  shipment  every 
day  or  so.  Harry  Lang- 
don  is  just  bringing  in 
a  load  from  his  mine. 


38 


of  Girls 


Mack  Bennett 
Wants  To  Know 


(\Gladys  Tenny- 
son. It  is  so  easy 
for  her  to  look 
beautiful,  that 
she  can  do  it 
even  sitting 
down. 


QiTheltria  Hill 
is  a  cute  kid 
whose  life 
iv  o  r  k  is  to 
round  out  a 
bathing  suit 
where  it  will 
look  best  in 
the-  picture. 


Let's  Show  Win— Send  in  your  photo— Every  one 
printed  will  be  paid  for  $10  each 


W 

Vf 


C[C  e  c  i  I  I  e 
Evans. 
They  say 
her  legs 
are  insur- 
ed, but  it 
would  be 
more  con- 
siderate to 
insure  the 
hearts  of 
the  inno- 
c  c  n  t  by- 
standers. 


'HAT  would   happen  to  Mack  Sennett  if  the 
supply  of  bathing  girls  gave  out?   That's  what's 
worrying  the  King  of  One-pieces.    You  know 
rery  well  that  if  it  hadn't  been  for  the  hardy 
pioneer.  Mr.  Sennett,  that  nifty  little  one-piece  bathing 
suit  of  yours  that  you  are  so  proud  to  wear,  would  be 
taboo — censored — forbidden  and  nix-de-rigour.    He  alone 
has  carried  forward  the  good  work  of  convincing  Mother 
and  educating  Father.    He  alone  is  responsible  for  the 
broadmindedness  of  the  present  generation,  and  it  seems 
to  us  that  the  least  you  can  do.  you  little  Beach-Vamps, 
is  to  show  him  that  if  worse  comes  to  worst,  you  are 
there  with  a  shape  like  a  million  dollars,  to  jump  into 
the  breech,  or  a  pair  of  breeches,  or  out,  or  anything,  to 
show  Mr.  Sennett  that  you  appreciate  what  he  has  done 
to  uplift  each  daughter  of  .Eve  to  the  high  pinnacle  which 
she  now  occup'ies  so  becomingly  in  her  one  piece  cute 
little  bathing  togs,  as  she  gives  her  battle  cry  to  the  whole 
admiring  world — "One  Man,  One  Country  and  One  Piece." 
Address  the  photographs  to  The  One  Piece  Editor: 
Screenland,  145  West  57th  Street,  New  York  City. 


39 


ys  for 


^Another  reason  why  a  girl  goes  into  the  movies 


T  If  ^IS  has  been  a  mooted  question,  not  only  among 
the  fans,  but  among  the  people  in  the  industry 
Jl     as  well>  for  a  time.    Several  friends,  who 

know  I  am  "in  pictures",  ask  me  very  often- 
Does  Gloria  Swanson  pay  for  those  gorgeous  clothes  she 
wears  m  her  productions?  What  does  she  do  with  them 
after  the  picture  is  over?  Are  they  given  to  her  or 
sold  to  her,  or  discarded?"  And  strange  as  it  may  seem, 
I  have  been  forced  to  answer:  "I  don't  know,  but  I'll 
find  out."    But  I  never  did. 

Now  comes  F.  B.  0,  with  a  gorgeously  dressed  society 
drama  with  stunning  Anna  Q.  Nilsson  wearing  all  the 
clothes  in  sight.  This,  I  thought,  is  a  Heaven  sent  oppor- 
tunity in  which  to  find  out  who  does  pay  for  those  gor- 
geous clothes  the  gorgeous  stars  wear  in  the  gorgeous 
productions. 

_And  now  I  find  that  the  producing  company  supplies 
most  of  the  clothes  an  actress  wears  in  a  production.  Take 
for  example  Vanity's  Price.  Anna  Q.  Nilsson  plays  the 
role  of  a  famous  actress  who  takes  the  Steinach  treatment 
to  regain  her  youth.  Naturally,  she  must  wear  some  very 
stunning  gowns;  gowns  that  she  would  never  dream  of 
wearing  outside  of  a  movie  set.  In  this  particular  instance, 
Anna  Q.  had  the  gowns  made  by  a  very  famous  modiste 
in  Hollywood,  and  F.  B.  0.  footed  the  bills.  Let  me 
tell  you  a  little  secret.    Anna  had  four  gowns  made  by 


<\Anna  Q.  in  a 
black  velvet 
afternoon  frock, 
boldly  embroid- 
ered i,t  silver 
figures.  This  also 
fits  snugly.  Note 
the  very  tight, 
long  sleeve.  An 
excellent  fashion 
suggestion  for  the 
Fall. 


40 


^.Anna's  piece  dc 
ance.  This  is  a  sum 
tious  afternoon  frock  „ 
bright  red  chiffon  with 
red  satin  .stripes  woven 
into  the  material.  It  is 
worn  over  cloth  of  silver 
slip,  which  is  draped  at 
the  side.  A  red  rose  on 
the  left  shoulder  gives 
the  costume  dash. 


y  jheir 


othes  ? 


Bj/  Vaula  Gould 


this  famous  modiste,  and  the  bills  for  the  four  totaled 
$4,796.50.  Over  a  thousand  dollars  a  gown.  And  the 
company  paid  the  bill! 

The  frocks  belong  to  the  Costume  Department  of  F.  B.  0. 
When  the  picture  is  completed,  these  dresses  will  be  ripped, 
and  perhaps  remodeled  by  the  modiste  and  used  again  in 
another  production.  Or,  if  Miss  Nilsson  prefers,  she  can 
buy  them  from  the  studio  at  a  much  reduced  figure.  That 
is.  if  she  feels  they  suit  her  figure. 

Black  velvet  is  very  much  in  vogue  this  season.  You 
will  notice  that  two  of  the  four  costumes  made  for  this  pro- 
duction are  velvet.  The  straight,  snugly  fitted  models 
have  come  back  again  and  some  of  them  stress  the  Princess 
effect  of  long  ago.  Long  tight  sleeves  are  decidedly  "in" 
again. 

The  evening  gown  of  black  and  white  sequins  has  rather 
a  bizarre  effect  but  is  carried  off  nicely  with  its  Paradise 
headdress  and  fan  of  peacock  feathers.  The  long  straight 
lines  are  just  as  popular  in  evening  gowns  as  they  are  in 
afternoon  frocks  and  street  wear. 

Miss  Nilsson's  sumptuous  afternoon  frock  of  striped  red 
chiffon  and  satin  over  silver  cloth  makes  a  wonderful  foil 
for  her  blonde  loveliness.  We  are  not  recommending,  how- 
ever, the  wearing  of  this  frock  off  a  movie  set. 


G[Anna-  Q.  Nilsson  in  a 
velvet  afternoon  frock, 
fitted  very  snugly  in 
the  new  Princess  fash- 
ion, the  skirt  of  which 
is  made  of  cloth  of  gold. 
A  streamer  of  the  vel- 
vet and  gold  cloth  hangs 
from  the  right  sleeve. 
With  it,  Miss  Nilsson 
wears  a  gold  bandeau 
to  hold  her  golden 
curls  in  place. 


Miss  Nilsson  and  an 
evening  gown  of  black 
and  white  sequins,  with 
a  Princess  panel  o] 
white,  and  a  narrower 
panel  in  the  back  of 
white.  A  Paradise 
headdress  and  a  fan  of 
peacock  feathers  com- 
plete this  stunning  en- 
semble. 


41 


(\Original  and  thrilling,  ujitli  a  wallop  in  every  "reel"  

Norma   Shearer  and  Jack  Holt   in    "Empty  Hands." 


What  an  Expert  thinks  about  the  Latest  Fall  Styles  in  Films 


Empty  Hands 

■p's  great  to  be  surprised.  And  Empty  Hands  is  the  sur- 
-II-  prise  package  of  the  month.  If  any  one  told  you  that 
a  picture  all  about  a  beautiful  rich  girl  lost  in  the  wilder- 
ness with  her  dad's  chief  engineer  would  prove  to  be  both 
original  and  thrilling,  you  would  have  burst  right  out 
laughing.  But  you  can  take  my  word  for  it  that  here's 
a  strip  of  celluloid  which  packs  a  wallop  in  at  least  four 
of  its  six  reels,  in  spite  of  a  plot  as  old  as  last  year's 
petticoats. 

What  does  a  plot  matter,  anyway?  Once  past  the  good 
old  stuff  which  introduces  the  heroine  as  a  perfectly  devil- 
ish little  member  of  our  overworked  younger  set,  and 
once  into  the  wilderness  with  Jack  Holt,  the  only'  hero 
who  can  still  charm  with  a  full-sized  set  of  whiskers,  you're 
all  set  to  enjoy  yourself— unless,  of  course,  you  go  into 
a  theater  with  your  tongue  in  your  cheek  determined  to 
keep  it  there.  You  have  to  get  into  the  spirit  of  the 
thing.    You  have  to  want  to  believe  that  a  man  and  a 

42 


girl  can  get  cast  up  by  the  sea — or  as  hi  this  case,  the 
rapids — with  a  pocket-knife  and  their  immediate  wearing 
apparel,  and  be  alive  to  welcome  the  rescuing  party  which 
arrives,  if  you  ask  us,  all  too  soon. 

There's  actual  beauty  in  this  picture.  There's  a  real 
love  story,  completely  convincing.  You'll  resent  all  in- 
terruptions. It  is  Norma  Shearer,  for  whom,  last  month, 
I  predicted  what  is  generally  known  as  a  glowing  future 
upon  the  screen,  who  makes  it  all  real.  With  all  due 
credit  to  Mr.  Holt,  who  is  one  of  the  few  combinations 
of  virility  and  romance  in  the  masculine  line,  it  is  Miss 
Shearer  who  takes  this  puny  plot  between  her  pretty  white 
teeth  and  tears  it  to  shreds.  She  is  actually  thrilling. 
Any  man  in  the  audience  would  have  got  right  down  and 
gladly  bowed  his  head,  bald  or  brilliantined,  to  her  tiny 
French  heels.  She  is  not  a  beauty,  if  you  crave  the  cupid's 
bow  and  the  fluttering  eye  lashes.  She's  an  actress.  And 
1  am  informed  by  a  reliable  authority  that  she  has  more 
sex  appeal  than  any  girl  in  pictures.  In  spite  of  that,  she 
is  going  to  win  a  few  feminine  friends,  too. 


<\"T/iis  has  gone  far  enough!"  Betty 
Blytlie  and  Forrest  Stanley  in  "The 
Breath  of  Scandal." 


Q.A  corking  cast  plus  a  de  luxe 
debauch  ■ — ■  Eleanor  Boardman 
is  sf.cet  innocence  and  a  per- 
fect lady  in  "Sinners  in  Silk." 


The  Breath  of  Scandal 

Something  should  be  done  about  this  thing.  It's  gone 
far  enough.  Time  was  when  a  picture  which  employed 
an  adventurous  husband  and  father,  or  a  daring  daughter, 
or  a  cocktail  shaker,  was  refreshing.  The  screen,  we  said 
proudly,  was  growing  up.  We  were  no  longer  in  the 
stage  of  serials  and  animal  cracker  drama.  Let  us  be 
broadminded;  let  us  be  sophisticated;  let  us  be  even — 
what  you  say? — a  bit  risque.  Well,  we  "have.  And  where 
has  it  got  us? 

We  have  had  a  siege  of  smart  stuff,  and  I,  for  one, 
am  a  little  sick  to  my  stomach.  Flapper  has  become  an 
overworked  word;  and  only  in  the  movies  is  it  still  popular. 
Cocktail  parties  on  yachts  may  still  be  all  the  go  among 
our  upper-classes;  but  if  I  see  another  one  on  the  screen 
I  shall  run  shrieking  from  the  theater. 

It  isn't  that  The  Breath  of  Scandal  or  Sinners  in  Silk 
are  particular  offenders.  But  they  have  this  same  some- 
what sickening  slant,  this  exaggerated  close-up  on  "Life 
Today,"  which  is  neither  modern  nor  life-like.  The  Breath 
of  Scandal  has  a  philandering  father,  played  by  Lou  Tel- 
legen,  whom  Patsy  Ruth  Miller  leads  back  to  the  fold. 


There's  nothing  here  you  wouldn't  take  your  grandmother 
to  see,  but  I'm  afraid  grandma  would  pick  up  her  reticule 
along  about  the  fifth  reel  and  go  across  the  street  to  see 
the  latest  Mack  Sennett  festival. 


Sinners  in  Silk 

This  is  a  very  expensive  picture.  It  has  Adolphe  Menjou. 
the  matinee  man  of  the  moment,  as  a  mature  metro- 
politan sheik,  who  exerts  his  sophisticated  wiles  upon  Elea- 
nor Boardman;  Eleanor  is  so  lady-like  that  she  manages 
to  save  sly  situations  by  her  delicate  grace  and  wide- 
eyed  innocence.  Hedda  Hopper  plays  her  mother,  and 
Hedda  is  always  a  positive  delight.  She's  another  who 
lends  plausibility  to  the  most  awkward  moments.  It's 
such  a  corking  cast,  in  fact,  that  Sinners  in  Silk  becomes 
a  deluxe  debauch,  and  one  you'll  be  inclined  to  sit  through. 
Just  the  same.  I'd  rather  like  to  see  The  Adventures  of 
Kathlyn  again.  There  was  more  of  a  thrill  watching  a 
soft-footed  tiger  stalk  a  blond  lady  through  a  motion  pic- 
ture jungle  than  there  is  today  watching  a  silk-lined  sheik 
sneak  up  on  an  immaculate  ingenue. 


43 


<\"  Etchings  of  grace  and 
charm,  countless  lovely 
C  o  r  o  t  s."  Valentino 
comes  bach  With  a  boiv 
—  and  a  bang  —  in 
"Monsieur  Beaucaire." 


Monsieur  Beaucaire 

TTF  you  would  really  like,  to  knowi  why  several  hundred 
-U-  seemingly  sane  citizens  formed  themselves  into  a  long 
line  on  Broadway  one  sweltering  summer's  day,  go  to  see 
Monsieur  Beaucaire. 

It  was  only  eleven  o'clock  in  the  morning.  Broadway, 
Manhattan,  at  eleven  o'clock  in  the  morning— any  morn- 
ing—is my  idea  of  a  place  to  stay  away  from.  The 
majority  of  Manhattan  shares  my  opinion  in  that  par- 
ticular.. But  at  eleven  o'clock  on  this  day,  there  they 
were— stretched  into  a  line  which  straggled  for  over  a 
block.  There  they  stood  stoically,  gazing  at  the  sun- 
baked street,  deserted  now,  or  at  each  other. 

I. had  a  pass  to  that  theater;  but  I  stood  for  an  hour. 
I  was  tired  and  I  was  cross.  "There  isn't,"  I  volunteered 
to  any  one  who'd  listen,  "a  picture  in  the  world  that's 
worth  waiting  this  long  for— on  a  hot  day,  too.  I  wish 
I  hadn't  come.    I  wish  " 

And  then  I  caught  a  glimpse  of  the  screen.  And  held 
my  breath.  For  there,  on  that  usually  commonplace  can- 
vas, there  was  an  etching  of  such  grace  and  charm  as 
we  come  upon  in  museums  of  art.  Better— it  was  a 
moving  picture.  A  delicate  dance,  with  the  dancers,  sil- 
houetted against  a  brilliant  background.  A  delight  to  the 
eye— and  only  one  of  the  countless  lovely  Corots  which 
make  up  Monsieur  Beaucaire. 

44 


See  it  if  you  have  to  stand  in  line.  You'll  see  it  more 
than  once.  It  is  just  what  a  motion  picture  should  be — 
great  entertainment.  More  than  that,  it  is  so  sumptuously 
staged  that  it  will  hold  the  attention  of  the  people  who 
contend  that  the  movies  will  never  rise  above  the  snappy 
picture-postcard  ideals  of  art.  It  is  entertaining  and  it 
is  artistic,  and  if  you  want  more  than  that — try  and 
get  it! 

Booth  Tarkington's  charming  romance  is  great  stuff, 
whether  your  bobbed  hair  is  gray  or  gold.  Anyone  who 
could  sit  through  Beaucaire  without  experiencing  just  a 
little  of  that  thrill  which  is  all  mixed  up  with  courts  and 
kings  and  daring  lovers  and  lovely  princesses  might  just 
as  well  end  it  all  right  now.  There's  everything  which 
you  used  to  read  fairy  tales  and  adventure  yarns  to  find, 
and  then  some  more.  Only  the  more  jaded  younger 
sets  may  yawn  at  Beaucaire's  thrilling  duel  with  the  Duke 
of  Winterset's  hirelings,  after  which  they  should  be  spanked 
and  sent  to  bed. 

Valentino  comes  back  with  a  bow — and  a  bang.  And 
they  said  he  wouldn't  fight!  He  stayed  out  of  pictures 
two  years— an  eternity  for  an  actor— because  they  wouldn't 
give  him  what  he  wanted.  He  came  back  and  with  Mrs. 
Valentino's',  aid,  insisted  upon  a  story  such  as  this,  with 
settings  to  match.  The  result  proves  that  there  is  one 
actor,  anyway,  who  has  not  lost  his  perspective.  He 
has   improved    his   time.     He   returns — and   wrecks  the 


01  They  don't  look  long  suffering.     Kenneth  Harlan  and 
Ruth  Clifford  are  the  Pollyanna  pillars  of  "Butterfly." 


box-office  records.  Not  content  with  that,  he  does  a  little 
acting  that  he  has  no  reason  to  be  ashamed  of. 

What  is  it  about  this  man?  He's  no  Salvini  as  to  tech- 
nique; and  he's  no  Adonis,  either.  But  he  is  the  one 
actor  besides  Chaplin  and  Fairbanks  who  can  stay  away 
from  pictures  more  than  a  month,  be  missed,  and  acclaimed 
at  his  return. 

Sidney  Olcott's  direction  hasn't  done  him  any  harm, 
of  course.  Olcott  is  a  director  whose  taste  can  always 
be  counted  upon.  He  never  fails  to  produce  a  quiet, 
intelligent  photoplay.  And  in  Beaucaire  he  has  done  more 
than  that.  He  has  directed  a  duel  scene  that  will  keep 
you  on  the  edge  of  your  seat,  if  you  don't  fall  out  at 
the  finish.  I  never  saw  such  a  duel.  There  will  never 
be  another  duel  for  me  again  after  Rudolph's  smashing 
victory  over  a  dozen  hefty  swordsmen.  But  when  I  saw 
that  gorgeous  jacket  of  his  ripped  to  pieces  I  could  have 
broken  down  and  cried,  only  I  wouldn't  have  missed  the 
next  scenes  for  anything. 

And  the  ladies?  Well,  of  them  all,  I  thought  Lois 
Wilson  looked  most  at  home  in  her  rich  brocades.    Yes — 


gentle,  quiet  Lois  stepped  right  out  and  seemed  every 
inch  the  queen  she  was  supposed  to  be.  Bebe  Daniels 
was  pretty  as  the  Princess  who  loved  Rudy  all  the  time, 
but  there  was  a  look  about  her  of  Hollywood,  somehow. 
Doris  Kenyon  as  the  Belle  of  Bath,  was  a  distinct  dis- 
appointment. Surely,  the  Belle  must  have  had  more  than 
mere  beauty  to  bring  Beaucaire  to  her  feet  and  his  knees. 
You'll  like  Lowell  Sherman  as  the  King — in  fact,  the  cast 
is  good. 

Butterfly 

Here's  the  latest  member  of  the  suffering  sisterhood  of 
the  screen.  You  know  those  forlorn  ladies  who  sac- 
rifice themselves  for  a  sister's  sake?  Kathleen  Norris 
loves  to  write  about  them.  This  latest  Norris  story  is 
a  little  more  tearful  than  its  predecessors. 

The  trouble  with  a  story  like  this  is  that  you  can't 
sympathize  with  the  long-suffering  sister  because  she's  such 
a  wonderful  moron.  For  no  reason  at  all — except  sisterly 
devotion,    she   lets   herself   be   brow-beaten,  humiliated, 


GLAn  unforgettable  clown  and 
an  aloof  and  lovely  lady. 
Ernest  Torrence  and  Anna  O. 
Nilsson  play  in  an  exquisite 
picture  "The  Sideshow  of 
Life." 


knocked  about,  and  abused  because  her  younger  sister  is 
prettier  than  she  is.  There  must  be  many  who  love  these 
tales  of  self-sacrifice,  and  for  their  benefit  Butterfly  has 
been  exceptionally  well  staged  and  acted. 

Laura  La  Plante  is  ideally  cast  as  the  selfish  sister;  and 
Ruth  Clifford  manages  to  be  almost  convincing  as  the 
martyr.  Miss  Clifford  deserves  a  vote  of  thanks  for  being 
as  human  as  possible  in  such  a  role.  Kenneth  Harlan 
plays  the  forgiving  husband  of  Little  Sister  as  well  as 
can  be  expected,  especially  as  Mr.  Harlan  looks  like  the 
kind  of  male  gentleman  who  wouldn't  stand  any  nonsense 
from  a  woman.  Norman  Kerry  is  a  long-haired  violinist 
with  a  flowing  tie.  The  only  violinist  I  ever  knew  had  hair- 
cuts regularly  and  dressed  like  an  advertisement  of  "What 
the  well-dressed  man  will  wear",  so  I'm  no  judge  of  Mr 
Kerry  s  performance. 

The  Sideshow  of  Life 

you  may  have  been  one  of  the  many  who  uttered  hoarse 
cries  when  the  announcement  was  made  that  Herbert 
Brenon  was  the  lucky  director  assigned  to  guide  Peter  Pan 
through  his  celluloid  incarnation.  "Brenon!"  you  may  have 
sniffed.  "What  has  he  ever  done  to  deserve  such  a  plum? 
46 


(\Gloria  goes  to  one 
studio  party  after  an- 
other ivithout  harming  a 
hair  of  her  shapely 
head  and  then  Tom 
Moore!  It's  lots  of  fun 
-"Manhandled." 


Why  not  John  Robertson,  who  proved  he  knew  what  Bar- 
rie  was  driving  at  when  he  turned  out  such  a  delicate 
classic  as  Sentimental  Tommy?  Or  wby  not  William  C. 
deMille,-  who  goes  in  for  that  whimsical  sort  of  thing, 
and  did  very  well  with  What  Every  Woman  Knows?  Why 
not  even  James  Cruze,  the  director  who  seems  to  be  able 

to  make  any  kind  of  a  good  picture?   Why,  why,  why  " 

And  so  on,  and  on,  and  on. 

Well,  I  thought  so,  too.  I  asked,  and  echo  gave  the 
answer.    It  is  The  Sideshow  of  Life. 

It's  an  exquisite  picture.  Oh,  I  know,  it  isn't  a  spec- 
tacle. It  isn't  a  costume  picture  nor  yet  a  rousing  tale 
of  the  revolution.  It's  just  a  simple  tale  of  a  few  people 
you  feel  you'd  like  to  know.  And  it  is  directed  with 
such  charm  and  such  subtlety  that  it  makes  vou  look 
forward  with  hope  to  Herbert  Brenon's  Peter  Pan. 

William  J.  Locke's  The  Mountebank  has  been  lead,  very 
gently  and  sympathetically,  into  the  mazes  of  screenland. 

Torrence's  hands  aren't  tapering,  or  shapely.  But  they 
can  express  more  than  any  man's  on  the  screen.  What 
an  actor  he  is!  And  as  the  clown  who  is  made  a  hero, 
for  awhile,  by  the  war,  and  then  goes  back  to  being  a 
clown  again,  he  adds  another  to  his  unforgettable  galfery 
of  portraits  which  includes  the  immortal  Bill  Jackson  of 


Q.An    army-  tank    with    Johnny   Hines   in    it  provides  a  real  thrill  in  "The  Speed  Spook.' 


The  Speed  Spook 

ir  've  seen  energetic  young  men  in  the  films-  ride  to  the 
-H-  rescue  in  everything  from  a  limousine  to  a  bicycle;  but 
this  is  the  first  time  I  ever  saw  Our  Hero  jump  into  a 
handy  tank  and  knock  down  trees  and  fences  on  his  way. 
An  army  tank  with  Johnny  Hines  in  it  provides  a  real 
thrill  in  The  Speed  Spook.  Maybe  you  don't  happen  to 
like  tanks;  but  ever  since  I  saw  my  first  one  in  a  news- 
reel,  I've  hoped  that  some  star  would  seize  this  vehicle 
for  his  praise-worthy  purpose.  Johnny  did;  and  so  I  had 
a  good  time.  It's  the  best  thing  about  The  Speed  Spook, 
and  enables  Hines  to  defeat  a  crooked  politician  and  get 
his  girl's  father  elected  to  sheriff's  office — probably  so  that 
Johnny  could  keep  on  speeding.  Edmund  Breese  and  Frank 
Currier,  two  splendid  veterans,  share  honors  with  Johnny 
— and  the  tank. 


Going  to  Congress — Jubilo.  Jr. 

Still,  after  thinking  it  all  over,  and  taking  it  by  and 
large,  whatever  that  means,  I  hand  the  palm  to  Will 
Rogers  this  month  for  his  two  short  comedies,  Going  to 
Congress  and  Jubilo,  Jr.  The  first  is  a  penetrating  political 
satire.  Jubilo,  Jr.  also  employs  Mickey  Daniels,  a  child 
actor  who  is  so  good  that  I  wonder  why  he,  instead  of 
his  freckles,  which  got  him  his  job,  never  gets  the  credit 
he  deserves. 

The  Desert  Outlaw 

Just  a  good,  old-fashioned  western,  but  I  liked  it  better 
than  some  of  this  awfully  social  stuff  we  have  been 
seeing  lately.  Buck  Jones  is  just  a  nice  kid  and  Evelyn 
Brent  is  a  nice  girl;  The  Desert  Outlaw  is  good  entertain- 
ment. 

40 


Reviews  of  Current  Screenplays 


By  Martin  B.  ^Dickstein 


FOOLS  IN  THE  DARK — F.  B.  0.  A  mess  of  herring  as 
old  as  the  farmer's  wife  joke  has  been  warmed  over  for 
this  one.  but  like  the  herring  you'll  never  be  able  to 
tell  its  age  by  prying  open  the  jaws  and  counting  the 
teeth.  Fools  in  the  Dark  may  be  as  old  as  Methuselah's 
mother-in-law,  but  (with  apologies  to  Beatrice  Lillie) 
there's  certainly  life  in  the  old  girl  yet.  It's  one  of  those 
weird  mystery  comedies  patterned  after  the  fashion  of 
Griffith's  One  Exciting  Night  in  which  a  weak-kneed 
suitor  for  the  heroine's  hand  is  put  through  a  right  stiff 
test  of  his  manly  courage.  Talk  about  thrills !  Our 
poor  old  vertebral  column  hasn't  been  subjected  to  so 
many  prickly  sensations  and  icy  blasts  since  we  saw 
Wally  Reid  in  The  Ghost  Breaker.  Tom  Wilson  walks 
off  with  the  honors  in  a  characterization  of  a  scared 
nigger  which  deseryes  a  ranking  among  the  best  perform- 
ances of  the  month.  Matt  Moore  plays  the  yokel  who 
is  so  cruelly  subjected  to  the  courage  test.  Still  we 
couldn't  blame  him  much  for  going  through  with  it  with 
a  girl  like  Patsy  Ruth  Miller  waiting  at  the  other  end 
of  the  film  all  packed  and  ready  for  the  rice  barrage. 
Director  Al  Santell  has  cooked  his  herring  to  a  turn 
and  you'll  probably  like  it — if  you  care'  for  that  kind  of 
fish. 

LILY  OF  THE  DUST — Paramount.  Adapted  from  Her- 
mann Sudermann's  famous  novel,  Song  of  Songs,  this  pro- 
duction which  has  been  so  ably  directed  by  Dimitri 


Q_The  fiery  Pola  is  seen  at  her  unquestionable 
best  in  "Lily  of  the  Dust." 


(\"JFe  couldn't  blame  Matt  for  going  through  luith  it 
for  a  girl  like  Patsy — "Fools  in  the  Dark." 


Buchowetski  ranks  as  one  of  the  real  classics  of  the 
screen.  In  the  starring  role.  Pola  Negri  is  seen  at  her 
unquestionable  best  since  she  decided  to  add  her  regal 
presence  to  the  little  band  of  Famous  Players  out  Holly- 
wood way.  There  are  those  who  will  say  that  Negri  never 
really  had  the  benefit  of  an  artists  direction  since  she 
was  signed  away  from  Lubitsch.  but.  be  that  as  it  may, 
no  one  will  gainsay  Dimitri  Buchowetski's  admirable 
handling  of  the  fiery  Pola  .in  Lily  of  the  Dust.  Suder- 
mann's gripping  drama  has  been  efficiently  adapted  by 
Paul  Bern  and  the  interpretations  ai  the  characters  by 
Negri.  Noah  Beery,  Ben  Lyon  and  Raymond  Griffith  leave 
nothing  to  be  desired  in  the  celluloid  version.  Mark  this 
one  down  as  one  of  the  season's  screenings  you  simply 
have  to  see. 

RACING  FOR  LIFE — Perfection.  And  while  we're  on 
the  subject  of  old  red  herrings  served  up  as  fresh-caught 
cod,  we  can't  resist  the  temptation  to  shake  a  little 
paprika  on  this  thriller  of  the  roaring  road.  At  first  glance 
it  is  a  poor  imitation  of  Sporting  Youth  as  it  contains 
all  the  worked-to-death  motor  race  situations  from  the 
hero's  tardy  start  to  the  winning  of  the  motor  car  mag- 
nate's daughter.  William  Fairbanks  looks  and  acts  per- 
fectly at  home  behind  the  wheel  of  a  bullet -shaped  mile 
eater,  but  in  the  less  exciting  scenes  away  from  the  track 
he  appears  to  be  as  uncomfortable  as  a  colored  parson  at 
a  Klan  meeting.  A  news  reel  shot  of  a  national  sweep- 
stakes has  been  carelessly  substituted  for  the  big  scene 
in  which  the  hero  cops  the  cup  and  we  couldn't  identify 
Fairbanks  in  the  mad  rush  at  the  finish.  But  we  know 
he  won  that  race  because  the  subtitles  said  so.  A  little 
more  directorial  attention  to  details  and  a  bit  of  orWi- 


0 


nality  in  the  interpretation  of  this  film  would  have  maue 
it  corking  entertainment  in  spite  of  the  triteness  of  the 
plot.  However,  it's  the  right  sort  of  stuff  for  the  young- 
sters— there's  so  little  sex  in  an  auto  race,  you  know. 

MESSALINA — F.  B.  0.  Enrico  Gauzzoni  got  by  the  im- 
migration officers  with  this  cinematic  spectacle  of  friend- 
ly Roman  countrymen.  At  that  it  looked  to  us  like  the 
whole  Italian  quota  was  exhausted  in  this  ambitious  pro- 
duction which  Doasts  a  couple  of  regiments  of  Musso- 
lonian  extras  and  spear  holders.  An  Italian  tragedienne 
by  the  name  of  Giovanna  Terribili  is  generally  as  dis- 
appointing as  her  impressive  proper  name  would  indicate. 
The  rest  is  pretty  sad  stuff  with  a  reflection  here  and 
there  of  the  director's  earlier  brilliancy  in  Quo  Vadis, 
which  slipped  through  the  Port  of  New  York  some  ten  or 
twelve  years  ago.  Messalina  just  goes  to  show  that  those 
furrin'  productions  can't  hold  a  Christmas  candle  to  even 
the  weaker  sisters  among  the  made-in-Amenca  brand. 
It's  worth  seeing,  though,  just  for  the  sake  of  comparison. 

TIGER  THOMPSON — Hodkinson.  It  doesn't  make  any 
difference  what  they  title  these  Harry  Carey  passing 
shows  of  the  wide  open  spaces.  Tiger  Thompson  would 
have  been  just  as  good  if  Hunt  Stromberg  had  called  it 
Red  Mike  from  Bloody  Gluch  or  Wolf  McCarty's  Leo- 
pard Gal  of  Snake  River.  It's  as  western  as  the  cactus 
candy  Fred  Harvey  sells  on  the  Limited  between  Las 
Vegas  and  Hollywood.  All  of  which  is  meant  to  convey 
the  idea  that  Carey's  Tiger  Thompson  is  not  so  very 
much  different  from  the  other  .45  calibre  double-barrelled 
thrillers  he  used  to  make  at  Universal  City.  The  virile 
he-man  stuff  is  nicely  balanced  by  some  clever  Stromberg 
comedy  bits  and  the  photographic  effects  of  authentic 
western  exteriors  will  be  appreciated  by  folks  who  never 
get  farther  away  from  home  than  the  end  of  the  suburban 
trolley  line.  Marguerite  Clayton  is  Harry's  leading  lady 
—and  what  a  merry  chase  she  leads  him.  But  see  it 
for  yourself. 

FLYING  FISTS — Henry  Ginsberg.  A  new  series  of  two- 
reel  fisticuffs  with  champion  Benny  Leonard  appearing 
in  the  hero  role  of  Benny  Lane.  Leonard  displays  a 
surprising  amount  of  screen  ability  and  with  his  repu- 
tation for  never  getting  his  slick  pompadour  mussed,  to 
say  nothing  of  his  camera-perfect  proboscis,  he  makes 
a  really  acceptable  movie  sheik.  The  producers  have 
managed  to  work  in  an  honest-to-goodness  scrap  in  every 
unit  of  the  series  and,  as  the  roles  opposite  the  champion 
are  always^  filled  by  professional  punch  swappers,  seeing 
Flying  Fists  is  as  good  sport  as  a  ringside  seat  at  a  Tex 
Rickard  Milk  Fund  show.  Sam  Hellman,  the  Sateve- 
post  slang  slinger,  wrote  the  stories  and  the  titles.  If 
you  can  imagine  George  Ade,  Will  Rogers  and  H.  C. 
Witwer  sitting  across  a  luncheon  table  from  you,  you 
might  get  some  idea  of  the  Hellman  wit.  More  pictures 
like  these  and  Benny  Leonard  will  be  the  ranking  at- 
traction in  pictures  as  well  as  punches. 

THE  SPITFIRE — Murray  Carrson.  A  movie  with  more 
plot  than  there  were  extra  people  in  Robin  Hood  and 
more  actual  screen  highlights  than  there  were  custard 
pies  in  a  1915  Chaplin  special.  Director  Bill  Cabanne 
gives  us  something  here  that  is  guaranteed  Grade-A  and 
thoroughly  pasteurized.  We  recommend  it  as  one  of 
the  few  films  you  can't  afford  to  pass  up. 

RIDGEWAY  OF  MONTANA — Universal.  Jumpin'  Jack 
Hoxie  in  what  would  have  been  a  tale  of  the  open  spaces 


if  Clifford  Smith  hadn't  been  so  economical  with  the 
spaces.  Still  Hoxie  is  more  interesting  than  a  lot  of 
Montana  landscape,  anyhow.  An  adorable  little  flapper 
type  who  isn't  given  screen  credit  helps  give  this  "west- 
ern" a  different  twist,  though  at  best  it  remains  a  picture 
for  the-please-easies.  Hard-boiled  fans  are  urged  to  stay 
away  for  the  management's  sake. 

TRAFFIC  IN  HEARTS—  C.  B.  C.  Something  they'll  like 
down  in  the  Gas  House  district.  It's  so  morally  clean, 
inspiring  and  so  darn  full  of  hokum  that  it'd  make  the 
toughest  yegg  toss  away  his  brass  knuckles  and  beat  it 
for  the  first  Y.  M.  C.  A.  and  a  Gideon  Bible.  Robert 
Frazer  plays  a  clean,  young  political  reformer  who  sets 
out  to  "get"  the  graft  ring  hell  bent  for  matrimony — 
and  he  does.    Inspirational  stuff  with  lots  of  moral. 

BROADWAY  OR  BUST — Universal.  All  about  a  pair  of 
long-horn  wrasslers  who  come  into  a  fortune  because 
somebody  discovered  radium  on  their  ranch.  Hoot  Gib- 
son and  his  pal  suddenly  find  themselves  catapulted  into 
the  select  circle  of  the  nouveauj  riche  and  set  out  on 
horseback  to  paint  the  Great  White  Way  a  brilliant  shade 
of  red.  If  you  haven't  seen  too  much  of  this  sort  of 
thing,  you  might  like  it.    But  you  probably  won't. 

WANDERING  HUSBANDS — Hodkinson.  Lila  Lee  and 
her  equally  celebrated  husband,  Jim  Kirkwood,  in  what 
seems  to  be  an  inconsequential  but  nevertheless  interest 
ing  photoplay.  There  are  only  three  players  in  the  cast, 
the  party  of  the  third  part  being  represented  in  the 
person  of  Mav^rite  Livingston.  She's  put  there  to 
vamp  poor  Jim  away  from  Lila.  This  screening  ranks 
well  up  among  the  better  program  pictures  of  the  year. 

THE  SIXTH  COMMANDMENT — Associated  Exhibitors. 
Another  fillum  with  a  moral.  It  sermonizes,  moralizes 
and  sterilizes  with  friend  William  Faversham  doing  most 
of  the  dirty  w|ork.  Much  excess  footage  in  the  preach- 
ing of  this  cinematic  sermon  gives  the  picture  a  tendency 
to  drag.    Too  morbid  to  be  entertaining. 

THE  RECKLESS  AGE— Universal.  An  obvious  follow-up 
on  Sporting  Youth  with  Reginald  Denny  again  taking  all 
the  honors.  Reggie  appears  to  be  quite  at  home  in  a 
typical  Wallie  Reid  role.  With  Ruth  Dywer  playing  op- 
posite him,  they  make  a  most  attractive  team.  The  story 
itself  is  too  thin  and  wobbles  dangerously  in  the  biggest 
moments.    Otherwise,  it's  passably  good  stuff. 

IN  FAST  COMPANY — Truart.  Richard  Talmadge  in  a 
zippy  rah-rah  yarn  that  should  go  big  at  Ann  Arbor  and 
in  every  other  town  with  an  I.  C.  S.  sub-station.  Some 
brand  new  ideas  on  how  to  stage  a  fast  steppin'  collegi- 
ate hi-jinks  without  bringing  down  the  wjrath  of  the 
prexy — or  the  Mayor.  This  picture  is  one  of  the  good- 
old-days  variety  and  has  oodles  of  pep  from  the  word  go. 

LOVE  OF  WOMEN — Selznick.  Maybe  Whitman  Bennett 
doesn't  make  the  worst  pictures  in  the  world  but  we 
don't  know  who  else  deserves  the  palm  if  he  doesn't. 
This  one  is  sufficient  cause  for  Helene  Chadwick  to  sue 
for  damages  to  her  reputation  as  an  intelligent  actress. 
It  is  one  of  those  matrimonial  triangles  in  which  a  little 
chee-ild  gets  sick  and  brings  the  erring  couple  back  to 
mend  their  ways.  And  a  little  child  shall — well,  it's 
that  kind  of  a  picture. 


51 


The  Iwn  Horse,  the  Wilktm  Fox  Romantic  Drama 


Madge  Bellamy  and  George  O'Brien  and  the 

Iron  Horse. 


n 
J 


Hawld  \2ojdj  in  "Hot  Water 


The  new  comedy 
describes  in  pains- 
taking f  a  s  h  i  o  n 
some  of  the  pains 
incident  to  matri- 
mony. 


Harold  I.  Id  y  J  and 
Jobyna  Ralston  and 
true  love  that  doesn't 
run  s  moot  lily. 


BllSter  KeatOfJ  in  His  New  Wp  "The  Navigator 


Q  Buster  Kenton  and  his  newest  leading  lady 
Kathryn  O'Connor  in  "The  Navigator."  It  looks 
as  if  Buster  had  too  long  suppressed  his  de- 
sire to  laugh. 


Q.  Buster  Keaton  person- 
ally supervises  coiffure 
of  extra. 


54 


55 


"Nothing  Today" 

Qv4  movie  girl  never  quits.  They  call  her  an  Extra  Girl  because 
she  has  an  extra  allowance  of  beauty  and  an  extra  supply  of  grit. 

By  Hamilton  Thompson 


A CHEAP  alarm  clock  ticked  noisily  on  the  small 
enamelled  bureau.  At  times  its  mechanism  showed 
signs  of  giving  out,  and  then,  with  one  rasp- 
ing jerk,  took  on  a  new  lease  of  life,  jangling 
along  again  at  a  terrific  rate,  as  if  to  awaken  more  quickly 
the  occupants  of  the  disarrayed  bedroom.  The  timepiece, 
like  the  bureau  on  which  it  rested,  was  battered — both 
veterans  of  a  lost  cause.  Their  experiences  had  left  im- 
perishable marks. 

At  either  side  of  the  bureau  was  a  narrow,'  window 
through  which  a  gray  light  filtered.  It  brought  out,  in 
hazy  relief,  the  tawdry  furnishings  of  the  room.  In  this 
half  gloom,  three  cots  were  discernible.  .  .  one  with  the 
coverings  thrown  rudely  aside.  The  other  two  were  occu- 
pied. Two  trunks,  one  of  the  wardrobe  variety,  stood 
adjacent  to  a  pile  of  hat  boxes,  leaning  Pisa-like,  seem- 
ingly on  the  verge  of  toppling  over  and  yet  mysteriously 
maintaining  their  precarious  positions.  In  one  corner  was 
the  inevitable  delicatessen  small  box  filled  with  rubbish. 

Three  chairs,  swamped  with  feminine  apparel,  leaned 
against  the  wall.  A  nondescript  floor  covering,  that  un- 
doubtedly had  started  its  existence  as  a  carpet  but,  long 
since,  had  lost  all  rights  to  the  title,  completed  the  fur- 
nishings. 

There  was  one  other  touch.  .  .  a  distinctive  one.  From 
a  decrepit  ceiling  light,  in  the  center  of  the  room,  suspended 
a  string  to  the  end  of  which  a  frayed  satin  pump  had  been 
tied.  For  hours  it  had  hung  limp,  motionless,  casting  a 
ribbon  shadow  across  one  of  the  cots.  Suddenly,  an  im- 
patient hand  pulled  it  into  action.  An  electric  bulb  sprang 
into  life,  and  simultaneous  with  the  illumination  came  the 
squeak-squeak  of  a  bed-spring. 

"Peggy!    Oh-h-h  Peg-g-ee  !" 

Lois  Condon's  crescendo  ended  in  a  prolonged  wail,  as 
she  raised  herself,  elbowwise,  on  her  cot  and  crossly  ton- 
templated  the  recumbent  form  on  the  opposite  cot. 

"Darn!"  She 'addressed  her  impatient  comment  to  noth- 
ing in  particular  and  the  wide  world  in  general.  "Why 
doesn't  the  kid  wake  up  when  that  drunken  alarm  clock 
makes  a  noise  like  a  rivetin'  machine?" 

Lois'  vexation  was  clearly  expressed  in  her  comely  fea- 
tures as,  reaching  the  floor,  she  seized  a  shoe,  much  worn 
at  the  heel,  and  hurled  it  at  the  still  sleeping  Peggy. 

"Peg!  Damn  it  all.  .  .  !"  Lois  was  apt  to  become 
profane  when  things  failed  to  function  according  to  her 
sweet  will.  "Don't  you  remember  that  you've  got  to  go 
over  to  that  picture  factory  at  nine?" 

No  answer.  The  mate  to  the  shoe,  a  coverless  novel, 
and  a  round  mouse  trap  that  had  done  heroic  service  rained 
about  the  body  of  Peggy  Dixon,  extra  girl  for  tne  day 
at  the  Crimerian  Films,  Incorporated.  The  mousetrap  did 
the  job.  There  was  a  movement  under  the  coverlet,  a 
tousled  head  became  visible,  one  ink  foot  appeared;  and 
then,  with  a  rush,  the  covers  were  tossed  aside  and  Peggy 
Dkon's  entire  figure  was  revealed  in  all  its  silk-nighted 

56 


slenderness.  Starving  to  death  on  a  desert  island,  Peggy 
would  have  passed  by  a  loaf  of  bread  had  her  eyes  rested 
on  a  silk  nightie  at  the  same  moment. 

She  sat  up  and,  with  a  great  show  of  dignity,  regarded  the 
cause  of  her  awakening. 

"Are  you  trying  to  wake  up  the  whole  darned  neighbor- 
hood?" An  unbiased  critic,  even  at  this  moment  of  awak- 
ening, would  have  pronounced  Peggy  as  extremely  attractive. 
"Want  Miss  Cousins  at  us  again?"  She  jabbed  a  pillow 
viciously. 

Lois,  settled  back  again  in  her  own  bed,  complacently 
ignored  the  questions.  The  neighborhood  was  none  of 
her  affair  and,  at  the  moment,  she  had  no  interest  in  Miss 
Cousins,  the  'head  hunter'  who  owned  the  drab  rooms  which 
served  as  the  girls'  home.  To  Peggy  and  Lois,  all  land- 
ladies were  'head-hunters',  especially  when  the  room  rent 
was  considerably  over-due.  ...  as  it  was  now.  For  Aggie 
Johnson,  the  third  member  of  the  trio  who  occupied  the 
room,  and  Aggie  alone,  the  landlady,  the  board  bill  and 
all  attending  evils  held  no  horrors. 

How  Aggie,  of  all  people,  happened  to  affiliate  herself 
with  Peggy  and  Lois,  the  young  adventurers,  will  ever  re- 
main a  mystery.  For  her,  adventure  was  merely  a  word 
encountered  in  fiction;  but  never  to  be  reckoned  with  in 
life.  Each  of  her  days  was  precisely  the  same  as  the  one 
preceding  it  and  the  one  to  follow.  She  was  secretary- 
de-luxe  for  an  advertising  man.  She  practically  took  charge 
of  his  agency  and  business.  .  .  nine  daily  hours  of  busi- 
ness formed  the  very  threads  of  her  existence.  She  had 
little  or  no  imagination,  but  she  did  have  a  bank  account. 
She  could  buy  more  than  one  pair  of  stockings  at  a  time! 

Aggie  was  at  once  the  envy  and  despair  of  the  other 
two.  Their  respect  for  her  ability  to  hold  a  steady  job 
was  tempered,  at  times,  with  intolerance  of  her  smug 
conceit.  Just  now,  Peggy,  standing  erect  and  stretching 
luxuriously,  wondered  how  Aggie  managed  to  get  up  and 
off  before  eight  without  a  murmur  of  protest.  Dismissing 
this  unsolvable  riddle,  she  moved  cautiously  to  the  hallway 
and,  leaning  over  the  balustrade,  listened  intently.  Then, 
satisfied  that  the  enemy  was  not  within  ear  shot,  she  went 
into  the  bathroom,  continuing  her  monologue.  From  her 
bed,  Lois  listened,  an  apathetic  audience. 

"I  wonder,"  said  Peggy,  "why  the  tubs  around  this 
neighborhood  were  designed  for  pigmies.  I  think  I'm  wash- 
ing my  chin  and  find  myself  removing  the  grime  from  my 
knee.  As  for  my  back.  .  .  there's  a  perfect  cavity  there 
where  the  faucet  has  dug  in.  I'm  tied  up  in  knots  and 
.  .  .  Oh,  well,  what's  the  use?  I  suppose  I  should  be 
grateful  for  the  experience.  If  they  don't  want  me  in  the 
movies,  I  can  get  into  the  circus  as  a  contortionist  or 
something.  Can't  you  hear  'em  yelling?  'Step  this  way. 
Only  ten  cents  to  see  the  Limber  Lady  get  into  a  cigarette 
box  and  out  again  without  breaking  a  single  bone  or  dent- 
ing the  side  of  the  box.    Only  ten.    .    .  '  " 

"Oh,  shut  up,  Peggy!"  Lois  had  reached  the  limit  of  her 


"Lois!  Turn  over  and  look  at  me,  you  worm!*- My  clean  B.  V.  D.  is  missing 
and  something   tells  me  .  .  .  Ah!      I  see  a   guilty   gleam   in  your  eyes." 


Illustrated  by 
A.  J.  TREMBATH 

patience.  "I  hate  to  be  rude,  but  I  was  almost  asleep  again. 
Just  because  you  have  to  get  up  at  midnight  is  no  reason 
for  getting  me  up,  too,  is  it?    Aggie  isn't  noisy  like  you!" 

"Aggie  is  perfect."  Peggie  passed  Lois  on  her  way  to 
the  bureau.  "I  prefer  to  be  imperfect  but  interesting. 
But  I'll  keep  still  now,  really.  Now  that's  out  of  my 
system." 

And  she  was  still.  For  fully  a  minute  and  a  half.  Then, 
sharply.    .  . 


"Lois!  Turn  over  and  look  at  me.  you  worm!  My 
clean  B.  V.  D.  is  missing  and  something  tells  me.  .  . 
Aha!    I  see  a  guilty  gleam  in  your  eyes." 

"But  listen,  Peggy.  Yesterday  I  couldn't  find  a  thing. 
Mine  have  simply  passed  on.  I  didn't  think  you'd  care 
.    .    .    much,"  ended  Lois  lamely. 

Peggy  smiled  grimly. 

"Oh,  no;  not  at  all.  It  really  doesn't  matter,  of  course, 
whether  I  show  up  at  the  studio  with  clothes  on  or  not. 


In  fact"  waxing  sarcastic,  "they're  looking  around,  I  think, 
for  some  one  to  play  the  part  of  a  splinter." 

"A  splinter!"  Lois'  face  expressed  skeptic  amazement. 

"Yes."  sweetly.  "On  one  of  the  masts  in  a  shipwreck 
scene.  I  may  be  a  Cape  Cod  girl  and  know  all  about 
boats;  but  just  because  I  was  brought  up  on  codfish 
and  ozone  is  no  reason  why  I.    .    .    Ouch!    Cut  it  out!" 

The  third  pillow  found  its  mark! 

TTois,  the  idea  of  further  sleep  given  up,  now  began  with 
^  her  own  toilette.  Peggy,  fully  dressed,  placed  the 
tea  kettle  on  the  rusty  gas  range,  in  the  closet-like  kitchen- 
ette, and  began  to  forage  for  food. 

"Heck!"  she  wailed.  "Aren't  there  any  buns?  All  I 
can  find  in  this  darn  love  nest  is  a  remnant  of  butter. 
And  I  can't  spread  it  on  my  coffee." 

Lois  deftly  twisted  a  gay-colored  scarf 
about  her  neck  and  viewed  the  effect  in 
a  mirror. 

"If  you  will  feed  all  our  worldly  goods 
to  those  lazy  Englishmen,  Peg,  what  can 
you  expect?  You  let  Bert  and  Sidney 
into  the  kitchen  yesterday.  You  might 
have  known  they'd  grab  everything  in 
sight.  If  you  had  to  get  some  one  to 
fall  in  love  with  you,  I  don't  see  why 
you  had  to  pick  two  such  pigs." 

"They  are  a  nuisance.  And  I  do  try 
to  discourage  them.  But,  you  know,  dear, 
Bert  is  in  love  with  you."  Then  switching  abruptly,  "Why 
couldn't  Aggie  have  brought  food  with  her?  She  never 
does." 

Lois  made  a  wry  face. 

"As  if  she  would  think  of  breakfast,  or  us,  or  anything 
but  the  office  and  God."  The  girls,  in  Aggie's  absence,  al- 
ways referred  to  her  boss  as  "God."  "If  we  left  the  buying 
to  her,  we'd  have  starved  long  ago." 

She  helped  herself  to  a  pale  pink  cup,  whose  mate,  of 
necessity,  was  a  red  and  gold  saucer,  and  continued.    .  . 

"Seriously,  Peg,  your  work  at  the  studio  will  be  ever 
so  much  better  if  you  go  on  nothing  but  tea.  The  great 
prima-donnas  all  say  they  go  without  eating'  for  hours  be- 
fore making  a  stage  appearance." 

"Yeah,"  drawled  Peggy.  "And  after  the  show  they  drive 
off  in  their  fur-lined  limousines  for  a  wonderful  feed. 
It's  a  hard  life.  If  I  could  count  on  a  regular  lunch  today, 
in  a  cosy  corner  with.    .    .  " 

"Ned  Blystone?"- interjected  Lois  slyly. 

Peggy  flushed.  Ned  Blystone  was  one  of  the  best- 
known  Crimerian  stars,  leading  man  in  the  picture  in  which 
Peggy  was  working.  In  Peg's  eyes  he  was  perfection  plus. 
She  had  admitted  this  to  Lois  and  added  that  she  was 
mad  about  him.  Lois  agreed  with  her,  but  Lois  had  meant 
to  be  sarcastic. 

"I  was  not  going  to  say  that."  Peggy  could  present  a 
chill  dignity  if  she  chose.  "I  was  about  to  say,  a  cosy  cor- 
ner with  shaded  lights,  and  a  nice  waiter,  and.    .  . 

"Ned  Blystone!" 

"Very  well  then.  .  .  and  Ned  Blystone!  A  fat  chance," 
she  added  ruefully,  "with  Gloria  Thomas  around!  With  her 
on  the  lot  he'd  never  sit  in  a  corner  with  me.  .  .  un- 
less he  was  pushed  there."  Peggy  sighed  dramatically,  but 
in  earnest.  "Some  girls  have  all  the  luck.  Not  satisfied 
with  playing  leads  she  has  to  get  him  crazy  about  her. 
Good  night!" 

"Cheer  up,  kid,"  vouchsafed  Lois  consolingly.  "Altman 
said  you  were  in  line  for  something  good  in  the  next  pic- 


ture.   And  it's  something  to  have  him  notice  you." 
Peggy  made  a  wry  face. 

"Altman  is  only  the  assistant  casting  director.  Besides, 
all  Blystone  can  see  is  the  artist  and  I'm  not  picked  for 
my  acting.  If  I  do  get  a  small  part,  it  will  be  because 
it's  a  seacoast  special  and  I'm  the  only  girl  in  the  crowd 
who  can  row  a  boat  without  committing  suicide.  Besides, 
it  may  not  come  ...  it  never  does."  This  last  with 
a  sigh. 

Then  she  brightened,  a  whimsical  smile  playing  about 
the  corners  of  her  mouth. 

"Ye  high  and  mighty  director,  Jay  Jordan,  doesn't  know 
that  I  exist,  so  that's  a  big  help.  .  .  .  nit."  Then  ab- 
ruptly, "How  do  you  like  this  hat,  or  should  I  wear  the 
blue  one?    They're  both  wrecks." 

"You're  right,"  agreed  Lois.  "But  that  one's  the  wreck- 
ier.  Wear  the  blue  one.  It  brings  out 
your  eyes.  And  don't  forget  to  pump 
old  Dion  for  any  news  about  work  next 
week.  You  might  remind  him  that  I  am 
still  living.  Of  all  the  casting  directors 
that  ever  happened,  he  takes  the  prize  for 
procrastination.  The  big  prune,"  she  added. 

"I'll  see  what  I  can  do."  Peggy  viewed 
the  effect  of  a  finishing  pat  with  the 
powder  puff.  "It'll  probably  be  the  same 
old  line.  .  .  .  'Nothing  today.  Come 
around  next  week.  You  can  leave  your 
pictures.  Yes,  come  around  nexL  Tues- 
day. Bring  your  friend,  too.'  That's  him.  Still,"  philo- 
sophically, "it  isn't  as  though  we  were  the  only  ones  who 
have  to  hear  it.  Remember  that  pompous  old  actor  you 
saw  in  Dion's  office  the  other  day?  His  name  is  War- 
burton  Royle  and  he's  been  on  the  stage  for  years.  He 
admits  both.  Just  because  he  hasn't  knocked  them  cold 
at  the  Crimerian  he  roasts  the  movies  to  a  turn.  Looks 
askance  at  the  actors  coming  off  the  set  and  mutters  'lice 
of  the  profession;  lice  of  the  profession.'  He  confided 
in  me,  Monday,  that  pictures  had  ruined  the  legit. 

Lois  deftly  rescued  a  colored  handkerchief  that  she  in- 
tended to  use  herself  and  at  the  same  time  queried: 

"How  about  that  sweet  little  lady  with  the  crinkly  white 
hair?"    Is  she  still  hanging  about?" 

"Uhuh!  Does  everything  but  sleep  there.  She  has  a 
grievance  against  all  writers  for  not  putting  a  grandmother 
in  every  reel  of  every  picture"  She  gave  a  final  hitch 
to  the  waist  band  of  her  skirt.  "If  she  waits  long  enough, 
they'll  have  to  be  writing  in  great-grandmothers  for  her! 
Heigho.    That's  what  we're  coming  to." 

"You  certainly  are  cheerful  this  morning,"  remarked 
Lois  not  without  reason.    "Tell  me.    .    .  " 

"Haven't  got  time,  honey.  I  must  scoot  this  minute 
because.  .  .  There's  Mrs.  Dubois!  The  sweet  old  thing. 
Heavens,  isn't  she  fat!" 

Mrs.  Roda  Gravuere  Dubois,  a  dirty,  but  inordinately 
affectionate  back  alley  cat  adopted  by  the  girls,  sidled  minc- 
ingly  towards  Peggy. 

The  two  girls  bent  over  Mrs.  Dubois,  whose  impending - 
maternity  was  a  source  of  extraordinary  interest  to  them. 

"I  have  a  feeling  that  Mike  and  Rachel  and  a  few  other 
brothers  and  sisters  will  make  their  debut  before  Sunday," 
said  Lois  thoughtfully.  "What  will  vou  bet  that  they 
don't?" 

"Nothing,"  Peggy  replied  promptly.  "I'm  broke  and  you 
know  it.  Besides  you  can't  rely  on  Mrs.  Dubois.  It  would 
be  just  like  her  to  .  .  .  Good  Lord!  "She  pointed  to  the 
clock.  "Is  this  thing  right?  I've  got  just  twelve  minutes 
to  make  it.    Good  by,  old  dear.    {Continued  on  page  79.) 


"Buy  a  ticket,  climb  into 
the  train  and  thank  God 
you  re  headed  in  the  right 
direction,"  and  the  sym- 
pathy in  Peggy's  voice 
was  genuine. 

"You  didn't  do  that,  did 
you?"  the  little  strange 
girl  asked. 


58 


"0  life!  how  pleasant  is  thy  morning.'"— Burns. 


MARTHA  ALBERT 

Art  Study  by  Alfred  Cheney  Johnstoi 


auce 


Robert  Cyril  O'Brien 


Jackie  Coogan,  who  receives  annually  for  his  services 
more  good  negotiable  American  dollars  than  most  people 
five — yes  and  even  ten — times  his  age,  is  appearing  in 
Little  Robinson  Crusoe,  from  the  pen  and  typewriter  re- 
spectively of  Daniel  Defoe  and  Willard  Mack. 

The  Boy  Wonder  has  so  many  friends  that  his  mother 
and  father  are  considering  having  his  picture  taken. 


We  note  that  Universal's  Wine  is  coming  soon,  Pussy- 
foot Johnson,  Andy  Volstead  et  al.  notwithstanding.  Andy 
owes  a  lot  to  liquor.    Boosted  by  booze,  as  you  might  say. 

The  cast  of  this  refreshing  picture  includes  such  favor- 
ites as  Clara  Bow,  Forrest  Stanley,  Huntly  Gordon  (whose 
surname  is  reminiscent  of  something  akin  to  wine,  although 
we  can't  recall  ait>  this  moment  just  what  it  is),  Walter 
Long,  and  Others  (whose  first  name,  incidentally,  is  not 
given). 

So  don't  miss  it.  There  was  a  rumor  that  they  intended 
to  serve  samples  at  some  performances  but  we  are  not  in 
a  position  to  verify  it.   Will  the  premier  open  with  a  pop? 

All  of  which  reminds  us  that  King  Vidor's  Wine  of  Youth 
is  also  on  tap. 

*  *  * 

The  Covered  Wagon  is  still  running.  Since  Charles 
Ogle  just  said  "Giddap"  many,  many  moons  ago,  six  thou- 
sand barrels  of  axle  grease  (if  axle  grease  comes  in  barrels) 
have  been  used  in  keeping  the  old  bus  moving. 


The  Sixth  Commandment,  if  we  can  believe  the  pro- 
ducers, is  a  drama  of  modern  love  and  hate.  Why  modern? 
Our  darling  old  grandmother,  who  is  now  in  her  hundred 
and  twentieth  year,  told  us  confidentially  the  other  day 
that  there  is  really  not  the  slightest  difference  between 
modern  love  and  hate  and  ancient  love  and  hate.  And 
we'll  believe  our  grandma  any  time,  even  if  she  does  lie 
sometimes  when  we  accuse  her  of  swiping  our  cigarettes. 


Barbara  Frietchie,  the  patriot,  is  not  G.  M.  Cohan's 
grandmother,  as  you  thought. 

*  *  * 

We  understand  that  Baby  Peggy,  Filmdom's  cutest  vam- 
pire, still  believes  in  Santa  Claus.  So  would  you  if  you 
<;ot  seventy  thousand  dollars  a  week,  or  whatever  she  gets. 

*  *  * 

Some  of  the  best  acting  on  the  screen  today  is  done  in 
the  news  reels.  Benito  Mussolini  easily  outclasses  every- 
body in  dramatic  posing.  The  most  remarkable  feature 
is  that  he  never  receives  a  cent  or  a  lira  or  whatever 
coin  they  use  in  Italy  for  his  histrionic  efforts.  They 
ought  to  give  some  of  these  high-priced  actors  something 
to  think  about. 

*  *  * 

Captain  Blood  is  the  third  Rafael  Sabatini  opus  to 
reach  the  silver  sheet. 

It  will  undoubtedly  please  the  many  admirers  of  that 
virile  idol,  J.  Warren  Kerrigan,  to  learn  that  he  appears 
in  the  title  role,  that  of  a  real,  live,  honest-to-goodness 
buccaneer — not  the  comic-opera  variety.  Incidentally,  there 
is  a  little  story  that  will  bear  repeating  in  connection  with 
the  why  and  wherefore  of  his  being  chosen  for  the  part. 

It  seems — that's  the  prrjper  way  to  commence  intimate 
yarns  of  this  kind — it  seerhs  that  Warren  got  tired  of  rid- 
ing around  in  covered  wagons  and  suggested  that  an  ocean 
voyage  might  do  him  gopd  for  a  change.  Well,  that's 
that. 

In  this  production  Mis;s  Jean  Paige  is  Arabella.  Cr 
rather  Arabella  is  Miss  Jean  Paige.  You  have  your  choice 
here. 

There  are  two  love  stories  in  this  thrilling  screen  novel; 
one  between  the  Captain  |and  Arabella  and  the  other  be- 
tween Jeremiah  Pitt  and  Mary  Traill. 

Double  header  today. 


And  now  we  have  Barbara  Frietchie,  adapted  from  the 
Clyde  Fitch  play  by  Lambert  Hillyer  and  Agnes  Christine 
Johnson. 

Barbara  Frietchie !  How  that  name  brings  back  the  good 
old  Civil  War  Days.  Dear,  dear.  Those  were  the  days 
when  a  fellow  could  send  somebody  in  to  bat  for  him 
when  drafted.    But  then,  of  course,  t  ?  but 

a  private  quarrel. 

Thanks  to  the  familiar  poem  of  t 
Barbara  Frietchie-Stonewall  Jackson  et 
practically  all,  so  of  course  the  movie  di 

It  has  now  but  definitely  proved  that  Stonewall  did  not 
say  '  "Who  touches  a  hair  on  yon  gray  head  dies  like 
a  dog.    Mah  Jong!"  he  said.' 


Teacher:  Use  Ben  Hun  in  a  sentence. 

Johnny  :  I  knew  a  lady  who  married  a  millionaire  ninety 
years  old  and  he  dropped  dead  right  after  the  ceremony. 
How  would  vou  like  to  have  been  her? 


William  Fox  is  astute  in  bringing  out  a  picture  bearing 
the  title  The  Iron  Horse.     It  will  give  many  people  in 

the  various  cities  thi  bout  the  country  an  opportunity 
to  find  out  once  and  forevej  just  what  a  horse  looks  like. 

While  we.  are  on  the  subject :  We  once  had  an  iron  horse 
in  front  of  our  house  in  the  country.  One  night  we  re- 
turned home  late,  looked  at  the  thing,  and  darned  if  it 
didn't  commence  to  prance  a.i^,  ^..tually,  to  gallop  right 
off  the  lawn.    Right  before  our  very  eyes,  too. 

Glad  to  know  Bill  Fox  caught  it. 

\  J  •  63 


Q.  Marion  Coakley  and  Leslie 
Howard  in  '-The  Were- 
wolf" wherein  the  pro- 
fessor's astral  body  misbe- 
haves. 


QRenee     Miller     in  "The 
Dream  Girl." 


(\Elizabeth  Mines  in 
"Marjorie,"  one  of  the 
new  season's  hits. 


I 

Q  Beatrice  Lillie, 
Nelson  Keys  and 
Gertrude  Law- 
rence stars  of 
"Chariot's  Revue 
of  1924." 


r amal and 


A  JLeview  of  the  New  York  Stage 


HE  title  is  the  only  really  bad  thing  about  No 
Other    Girl,   which   seems    to   have    the  bright- 
est   prospects    of    any    musical    comedy  that 
has  opened  during  the  first  days  of  the  new 
season.    Dancing  Quakers  would  have  suited  this  pleas- 
ant  opus  better  and  would  have  prepared  us  for  the 
slight  shock  of  hearing  "Thee  and  Thou"  sprinkled  among 
jazz  melodies,  by  demure  maidens  in  quaker  blue  fling- 
ing a  naughty  knee. 

This  intriguing  pastoral,  laid 
for  two  acts  in  Quakertown,  half- 
w*ay  between  Philadelphia  and 
New  York,  as  the  hero  patheti- 
cally insists  while  trying  to  sell 
his  get-rich-quick  scheme,  is  re- 
freshingly different,  in  that  it  ac- 
tually has  a  plot,  a  plot  that  is 
not  forgotten -in  the  last  act;  but 
all  the  threads  are  neatly  tied, 
leaving  a  Thee  married  to  a 
Thou  and  the  Spanish  La  Sidello 
safely  paired  off  with  the  "great- 
est advertising  man  in  New 
York,"  and  smiling  Doris  Eaton, 
whom  the  audience  insists  on 
comparing  to  her  famous  sister, 
Mary,  sworn  to  endure  the  far 
from  modest  boastings  of  William 
Sully  for  the  rest  of  her  life — or 
for  the  run  of  the  play,  which 
may  be  quite  a  spell,  judging  from 
the  enthusiasm  of  the  first  night 
audience. 


MARJORIE 


For  Marjorie,  at  the 


The  producers  of  one  of  the 
season's  first  musical  comedies, 
Marjorie,  evidently  worked  on  the 
theory  that  hot  weather  audiences 
like  strawberry  ice  cream  sodas 
Shubert  Theater,  is  just  that — a  delicious,  refreshing,  pretty- 
colored,  frothy,  frivolous  strawberry  ice  cream  soda.  And 
it  is  well  known  that  ice  cream  is  nourishing — and,  to  a 
certain  extent,  filling.  But  one  never  remembers  an  ice 
cream  soda. 

The  ingredients  of  this  ice-cream-soda-musical-comedy 
are  not  at  all  new  or  different.  There's  a  pretty  blond  girl, 
Elizabeth  Hines,  who  makes  a  charming  reason  for  the 
chorus  men  to  kneel  and  sing  romantic  love  songs  in  a 
strangely  uninspired  fashion.  There's  a  very  slim,  short 
hero,  Roy  Royston,  who  is  scarcely  taller  than  the  rather 
statuesque  Miss  Hines,  but  who,  through  the  vagaries  of 
the  plot,  is  made  into  a  successful  producer  of  stage  plays, 
among  them  the  script  which  the  heroine's  brother,  most 


Myron  Zobel  Writes  Vrom  Varis 

C317.  The  Folies-B.ergere  is  the  best  revue  in 
Paris;  that  is,  it  is  the  nearest  to  our  own 
American  standards.  It  has  music  {Ameri- 
can vintage  of  1921)  colorful  costumes,  and 
one  good  dancer — St  owitts,  a  former  Univer- 
sity of  California  track  man  who  made  quite 
a  reputation  with  Pavlowa.  His  work  is  full 
of  vitality. 

The  far-famed  French  nudity  will  be  a  disap- 
pointment to  eager  Americans. 
The  Folies  contained  several  musical  hits, 
amongst  them  Lady  of  the  Evening,  Played 
it  on  a  Ukelele,  They  Call  it  Dancing,  Stars 
and  Stripes  Forever.  Americans  abroad  may 
expect  momentarily  to  hear  the  Star  Spangled 
Banner  rendered  in  jazz  time.  They  have 
adapted  everything  else  we  have. 
C[II.  Another  revue  that  comes  under  the  head 
of  "Plays  that  do  not  require  a  knowledge  of 
French"  is  Tout  Nue.  This  is  perhaps  the 
most  daring  revue  in  Paris,  and  Mile.  Aubert 
has  the  much  discussed  French  vivacity. 
American  producers  would  do  well  to  import 
her  little  act  called  The  Powder  Puff.  The 
theatre  is  tiny,  and  a  group  of  choristers 
armed  with  powder  puffs  and  pink  lace  hand- 
kerchiefs attack  the  audience.  They  pick  out 
those  men  who  blush  the  deepest  and  tucking 
a  handkerchief  about  their  neck,  powder  them 
with  a  vengeance. 


skillfully  and  humorously  played  by  Richard  Skeat  Gal- 
lagher, has  been  trying  to  palm  off  on  all  the  play  pro- 
ducers in  the  world  and  Forty-second  Street. 

There  are  so  many  songs  that  the  three  authors  and  four 
composers  are  determined  to  get  across  that  the  plot  be- 
comes completely  swamped,  and  I  especially  mourned  the 
necessity  for  cutting  Nan  Crawford's  part  as  Juliette  Loti, 
the  film  star,  to  a  mere  bit. 

But  Andrew  Tombes  alone  is 
worth  the  price  of  an  ice-cream 
soda — beg  pardon,  of  a  musical 
comedy.  His  tomb-like  manner 
and  Keatonesque  lack  of  expres- 
sion strike  a  deep  bass  note  to 
relieve  the  ordinary  tinkle  of 
the  rest  of  the  comedy.  As  the 
press  agent  of  the  talented  young 
producer  of  young  ladies'  broth- 
ers' plays,  he's — well,  he  satis- 
fies. He's  the  fizz  in  the  ice 
cream  soda.  Skeat  Gallagher 
makes  a  real  life  character  out 
of  the  juvenile  playwright  who 
is  afraid  of  falling  in  love — and 
so  promptly  becomes  entangled 
with  Molly  Daly,  so  well  played 
by  Ethel  Shattu  that  she  is  al- 
most guilty  of  stealing  the  play, 
or  what  is  left  of  it  after  GaP 
lagher  and  Tombes  walk  away 
with  it. 


DANCING  MOTHERS 


A  serious  attempt  to  go  Ibsen 
one  better  on  his  theme  in  A 
Doll's  House  results  in  Dancing 
Mothers,  at  the  Booth  Theater, 
a  play  which  the  audience  simply 
eats  up  and  which  causes  the 
weary  critics  one  large  pain. 
Again  the  younger  generation 
forms  the  punching  bag  for  drama. 

The  title  tells  it  all.  Mrs.  Westcourt  (Mary  Young), 
as  the  flouted  mother  who  is  impertinently  called  "Buddy" 
by  her  impossible  young  daughter,  Catherine,  gets  tired 
of  being  a  granny-sit-by-the-fire  at  forty,  and  decides  to 
step  out,  to  punish  her  mildly  philandering  husband  and 
her  saucy  daughter. 

The  conclusion  has  the  only  element  of  surprise  and 
real  value  that  the  drama  possesses.  "Kittens,"  com- 
pletely subdued  and  reduced  to  a  Victorian  state  of  mushy 
sentimentality  about  mother  and  home,  which  she  had 
been  flouting  so  consistently,  and  Daddykins.  otherwise 
Mr.  Westcourt,  ably  played  by  Henry  Stephenson,  are 
sitting  in  the  home  made  desolate  by  the  desertion  of 
their  Buddy.    Buddy  comes  back  for  some  gorgette  negli- 


65 


gees,  and  Gerald,  a  fascinating  bachelor,  who  has  allowed 
"Kittens"  to  make  love  to  him,  handsomely  bargains  with 
Mr.  Westcourt.  He  will  give  up  the  only  woman  he  has 
ever  loved,  if  it  is  for  her  happiness.  Will  Mr.  Westcourt 
be  as  generous?  Daddykins  can't  see  it  that  way  at  all, 
and  coaxes  Buddy  to  stay.  The  contrite  daughter  pulls 
some  heavy,  dramatic  lines  in  the  same  effort.  And — 
Buddy  does  the  Nora  stunt.  She  walks  out  of  her  home 
and  her  past  life,  to  seek  self-expression.  You  can  con- 
.  sole  yourself,  if  you  are  in  tears  over  this  warping  of 
dramatic  proprieties,  that  Buddy  will  express  herself  a 
lot  and  then  come  home  to  Kittens  and  Daddykins.  And 
then  again,  if  you  are  romantic  and  forty,  you  can  tell 
yourself  that  she  has  found  the  great  love  of  her  life.  At 
any  rate,  the  ending  is  refreshingly  courageous. 

THE  BEST  PEOPLE 

I  can't  help  dividing  The  Best  People,  at  the  Lyceum 
Theater,  into  two  distinct  parts,  attributing  the  plot  to 
David  Gray,  and  the  lines  to  Avery  Hopwood.  If  I  wrong 
Mr.  Gray,  I  am  sorry.  But  my  past  admiration  for  Mr. 
Hopwood,  even  when  he  was  suffering  most  painfully 
from  his  bedroom-complex,  compels  me  to  find  excuses 
for  him.  The  plot  is  ridiculous,  farcical,  stagey,  but  the 
lines  are  often  cracklingly  clever. 

The  co-authors  took  the  two  oldest  situations  in  the 
world  and  welded  them  into  a  play — the  sissiety  girl, 
weary  of  this  ceaseless  round  of  gayeties,  yearning  for 
the  real  things  of  life,  chucks  the  noble  ass  of  an  English 
Lord  and  proposes  to  the  sho-fure,  accent  on  the  last 
syllable. 

The  twin  situation  to  this  sissiety  girl  proposing  to  the 
sho-fure  is  the  good-for-nothing  young  sissiety  son,  weary 
of  doing  nothing,  nothing,  '  nothing'  real,  falling  in  love 
with  a  chorus  girl.  Oh,  no,  dearie!  Not  that  kind  of 
a  girl!  That  kind  is  played  by  her  best  friend,  Millie 
(Florence  Johns).  But  Alice  O'Neill,  Bertie's  chorus  girl, 
is  so  sweet  and  pure  that  she  almost  bores  the  audience 
to  death. 

There  you  have  the  play.  Mrs.  Bronson  Lenox,  the 
sissiety  matron,  snubs  the  servants  and  Bronson's  private 
secretary,  and  settles  down  to  a  hysterical  evening.  Mar- 
garet Dale  reveais  the  fact  that  she  is  a  splendid  actress, 
in  spite  of  the  crimes  her  authors  make  her  commit.  And 
Charles  Richmand  makes  a  human  being  out  of  Bronson 
Lenox,  the  powerful  lawyer  who  spoils  his  children  and 
then  tries  to  bribe  the  chorus  girl  and  the  sho-fure  to 
leave  his  precious  pets  alone. 

Just  when  the  audience  is  breathing  more  freely,  be- 
lieving that  for  once  such  mesalliances  will  be  averted,  and 
the  "real  best  people" — the  sho-fure  and  the  chorus  girl — 
will  be  saved  much  grief  in  the  future,  the  plot  reverts 
to  formula,  and  the  suddenly  enlightened  father  begs 
the  two  "real  people"  to  marry  his  trifling  son  and  his 
obstreperous  daughter. 

Again  sissiety  is  properly  put  in  its  place  and  common 
laboring  people  exalted. 

In  spite  of  the  unpleasant  character  the  authors  wish 
upon  her,  Frances  Howard  makes  a  chcarming  flapper  lead, 
and  James  Rennie  makes  feminine  hearts  beat  fast  through- 
out the  audience.  As  I  said,  the  lines  are  frequently 
clever — 

THE  DREAM  GIRL 


The  Ambassador  Theater  will  undoubtedly  be 
displaying  the  same  electric  sign  for  some  time 
to  come — Fay  Bainter  in  The  Dream  Girl. 

Forgetting  Miss  Bainter  for  a  moment,  the 


most  important  thing  about  the  new  musical  comedy  is  that 
Victor  Herbert  wrote  the  music.  And  needless  to  say,  the 
music  is  charming,  insinuating,  invigorating,  dreamy,  exotic. 
Never  trite  or  cheap.  Three  songs  are  notably  unforget- 
able— "Dream  Girl,"  "Maiden,  Let  Me  In"— the  rousing 
drinking  song  which  opens  the  second  act — and  "Broad 
Highway."  The  show  would  survive  if  it  had  only  these 
three  songs  and  that  splendid  second  act. 

As  for  Fay  Bainter — why  does  she  permit  her  talents  to 
be  wasted  on  musical  comedy?  The  Bainter  charm  is  pretty 
nearly  unique— it  is  independent  of  beauty — and  it's  inde- 
pendent of  that  quality  called  chic.  The  Bainter  personal- 
ity seeps  out  into  any  audience,  no  matter  how  cold,  and 
warms  it  up  into  a  sort  of  adoring  approval  of  herself,  if 
not  of  the  show.  But  in  this  instance,  the  show  itself  goes 
pretty  well.  And  Walter  Woolf  is  a  very  able  co-star.  He 
has  a  virile  masculinity  that  emphasizes  Miss  Bainter's 
diminutive  femininity,  and  he  can  sing. 

The  nice  little  plot  is  taken  from  Rida  Johnson  Young's 
lay  on  reincarnation—  The  Road  to  Yesteryear.  An  Irish 
Nora  (Clara  Palmer),  with  a  broad  brogue  to  prove  it, 
hists  about  the  stage,  warning  the  folks  at  a  studio  tea  not 
to  be  too  rash  in  making  wishes,  since  it  is — hist! — Mid- 
summer's Eve.  Fay  Bainter  immediately  wishes — hist! — 
and  is  transported  in  dreams  along  the  road  to  long  ago, 
where  she  meets  Walter  Woolf  in  leather  jerkin  and  red 
panties.  During  the  entire  second  act  she  is  obsessed  with 
the  conviction  that  it  is  all  a  dream;  yet  no  amount  of 
pinching  can  wake  her  up  out  of  the  fifteenth  century.  The 
conceit  gives  a  charming  opportunity  for  beautiful  and  un- 
usual costumes  and  some  rousing  songs — excuse  enough  for 
anything. 

Comedy  is  manfully  and  unremittingly  supplied  by  Billy 
B.  Van,  who  is  thoroughly  modern  with  a  radio  complex. 
This  is  the  first  musical  comedy  of  the  season  to  squeeze 
fun  out  of  the  radio  and  should  prove  popular,  if  for  no 
other  reason.  Unfortunately,  the  authors  supply  poor 
Mr.  Van  with  some  terrible  jokes,  which  cramp  his 
style'  considerably. 

Vivara,  a  vivacious  dancer,  in  the  character  of  Melena, 
the  gypsy  girl,  does  some  dancing  which  more  than  com- 
pensates for  Miss  Bainter's  reticence  toward  tripping  and 
kicking. 

Clever,  for  the  most  part,  very  pictorial,  and  leavened 
with  the  sweetest  music  of  the  new  season — you'll  undoubt- 
edly enjoy  The  Dream  Girl. 


Q  Doris  Eaton  in  "No  Other  Girl." 
family,  the  Batons. 


Great 


66 


Where  Beauty  Serves 

\Continued  from  page  21) 
Lady  Luck  is  going  to  smile  on  her,  if  not 
today,  then  surely  tomorrow! 

But  the  two  girls,  having  ordered,  were 
settling  down  for  a  talk. 

"How's  the  job,  Lois?  Still  selling, 
white  goods  at  Hamburger's?"  the  red- 
headed, gray-eyed  little  beauty  in  the 
cheap  black  taffeta  dress  with  a  maid"s 
apron  and  cap  asked  of  the  girl  who  was 
not  in  make-up. 

"Quit  Saturday,"  the  other  triumphed. 
"That's  why  I  asked  you  to  lunch  here 
with  me  today.  I've  saved  enough  to 
try  it  again.  I've  got  a  big  stake  now — 
nearly  two  hundred  dollars.  I"d  a-quit 
sooner  but  I  wanted  to  have  a  complete 
evening  dress  outfit — and  I've  got  it  now, 
at  employe's  discount — pale  green  chiffon 
velvet"  trimmed  with  the  glitteriest  se- 
quins you  ever  saw,  and  brocaded  silver 
slippers  and  cobwebby  silky-stockings  and 
a  big  ostrich  feather  fan  that'll  knock 
'em  dead,  Lorna.  And  a  tiara  for  my 
hair.  Oh,  boy!  I'll  make  Gloria  Swanson 
ask  me  who's  my  importer  yet!  She'll  be  copying  her 
headdress  after  me  next!" 

"Gee,  kid,  I  wish  I  had  the  nerve  to  get  out  long 
enough  to  get  some  clothes  and  a  fresh  eye.  But  every 
time  I  begin  to  brush  up  on  my  shorthand  I  get  a  call  to 
be  on  the  set  at  eight  o'clock  in  makeup!  And  I  ask  you, 
Lois,  what  can  you  do?  But  gee.  my  clothes  are  in  rags, 
and  if  I  don't  strike  it  lucky  soon,  I'll  have  to  write  my 
kid  brother  that  I've  got  appendicitis  or  something,  to  get 
the  coin  to  stock  up  again.  Say,  he's  a  newspaper  artist, 
and  the  roll  that  kid  does  pull  down  on  Saturday  noon! 
He'd  do  anything  for  me,  but  he  hates  me  to  be  in  pictures. 
I  see  myself  quitting  after  that  close-up  I  got  in  that 
dance  hall  picture  I  worked  in  last  week.  Did  I  tell 
you  about  it?" 

Lois  of '  the  sta-combed  black  boyish  bob  shook  her 
head.    "You  know  I  ain't  seen  you  lately.    Any  chance  to 
help  me  get  in?    I'm  going  over  to 
Lasky's  this  afternoon — " 

"Say,  lemme  tell  you  about  my 
close-up.  I  was  as  thrilled  as  if  I'd 
been  made  a  star!  The  script  called 
for  the  dance  'hall  to  be  snowed  in 
for  five  days,  with  no  provisions  ex- 
cept liquor — strong  tea,  it  was. 
Then  a  rescue  party  comes  along  and 
brings  gobs  of  victuals.  We  have 
to  fall  to  and  wolf  the  stuff,  as  if 
we  was  starved — great  big  chunks  of 
jerked  meat  and  stale  bread.  And 
you  know,  kid,  I  was  so  hungry — I 
didn't  eat  a  bite  all  day  for  the  usual 
reason — trying  to  diet  for  my  rigger's 
sake,  ha,  ha! — well  I  hadn't  eat 
anyway,  and  I  could  have  wolfed  a 
raw  steak  if  they'd  asked  me  to.  I 
snatched  a  piece  of  meat  out  of  an- 
other girl's  hands  and  the  director 
thought  I  was  so  enthused  with  the 
'business'  that  he  turned  the  camera 
on  me.  Hope  to  the  Lord  they  keep 
that  close-up  of  me.    Be  just  like 


Q.  JF hat's  Wong  ivith  this  picture? 
One  of  the  most  interesting  star 
possibilities  on  the  screen.  Anna 
  May  Wong. 


the  cutter  to  leave  out  the  whole  se- 
quence." 

"I'll  bet  it'll  go  over  big,"  Lois  reas- 
sured her,  a  little  wistfully  I  thought. 
"Honest,  Lorna,  I  don't  see  why  you're 
not  a  star  yet.  You're  prettier  than  most 
of  the  stars,  and  you've  got  a  lotta  pep — " 
"You,  too,"  Lorna  told  her  generously. 
"Sure,  you'll  make  the  grade  and  I'll 
make  it.  Just  have'  to  hang  on  a  little 
longer.  Any  day  now  we  may  strike  it 
lucky.  You  know  Grace  Gordon?  She's 
been  hanging  on  for  years  now,  and  hasn't 
seemed  to  get  anywhere,  and  last  time  I 
saw  her  she  was  talking  about  signing  a 
contract  at  a  hundred  a  week  for  a  year! 
Had  been  working  at  a  hundred  per  in 
A  Lady  of  Quality!' 

"Yes,  and  I  saw  the  picture  and  I 
couldn't  find  her  in  it,"'  Lois  interrupted. 
"That's  the  way  with  cutters.  We  get  a 
close-up  or  two  out  of  a  bit,  and  blooey, 
it's  gone." 

"But  don't  forget  that  some  of  'em  do 
get  in  and  that  you  never  can  tell  when 
some  casting  director  or  a  producer  or 
maybe  a  star  will  look  at  the  picture,  and 
say,  'Who's  that  pretty  little  brunette  in  the  cabaret  scene, 
flirting  with  Valentino?'    And  presto,  you're  picked  out— 
and  made!"    Lorna  snapped  her  fingers  triumphantly. 


B 


GlRussell  Ritchie,  playing  a  French  officer  in 
the  ncv:  Lubitsch-Negri  picture,  "Forbid- 
den Paradise." 


etty  Compson  was  a  nursemaid  once.  I  read  it  in  a 
magazine,"  Lois  cheered  up.  "You  know,  Lorna,  it 
makes  me  dreadful  homesick  to  think  of  all  the  girls  in 
our  little  club,  the  Baker's  Dozen.  Wonder  where  all 
the  girls  are  now?  Let's  see,  Greta  went  to  England  with 
an  independent  company  and  got  stranded — " 

"She's  back.  The  Talmadges  or  somebody  helped  her 
to  get  home,  when  they  found  her  alone  over  there  and 
out  of  work,  and  she's  got  a  bit  in  a  Buster  Keaton  pic- 
ture. Not  enough  for  screen  credit,  but  it  means  five 
weeks,  she  says,  at  fifty  per.  And  I  saw  Flora  Parsons 
the  other  day,  out  at  Universal  City — " 
"Working?"  Lois  asked  enviously.  "I'm  crazy  to  get 
back  into  the  game  myself — " 

"Not  in  pictures,"  Lorna  ad- 
mitted. "She's  working  in  the 
cafeteria  out  there.  I  guess  she's 
getting  another  stake,  like  you,  and 
she  says  she  wants  to  be  on  the 
ground,  where  they  can't  forget  her. 
She  says  she's  going  to  attract  Wal- 
lace Worsley's  attention  some  way  if 
she  has  to  pour  hot  soup  down  his 
back  and  then  give  first  aid." 

"Maybe  she  thinks  like  Polly  At- 
lee — you  know  she's  a  waitress  at 
Quinby's,  and  wears  the  duckiest 
little  blue  and  white  Quaker  costume 
you  ever  saw.  Polly  told  me  she 
chose  Quinby's  because  she  saw  Fred 
Niblo  and  Jesse  Lasky  both  there — 
not  together! — one  night,  and  it  oc- 
curred to  her  that  she'd  look  per- 
fectly darling  in  those  blue  and  white 
outfits.  So  there  she  is.  and  even  if 
Lasky  and  Xiblo  haven't  been  back, 
they  may  any  minute,  or  somebody 
{Continued  on  page  951 

67 


6  Sip 


ran  i 


SCfUEENLAND 


By  Jacqueline  Logan 
Mae  Busch 
Billie  Y>ove 
Grace  YUngsley 
George  W.  Marion 
The  italics  are  H.  B.  K. 


Willis 


01  Mabel  Normand 
bark  again  in 
Hollywood  and 
glad  of  it. 


0[  Tom    Mix  and 
the  famous  hat. 


Q."  Lefty"  Flynn  who  also 
looks  as  though  lie 
knew  something. 


Q  Viola    Dana   who  can 
keep  a  secret. 


(^Hollywood  Says: 

By  Jacqueline  Logan 

Mabel  Normand  returned  to  Holly- 
wood. She  looks  better  than  she  has 
looked  for  a  long  time,  too.  Mabel  is 
getting  younger  each  day,  instead  of  old- 
er, I  believe.  If  we  could  only  all  learn 
her  secret.  I  saw  her  on  the  street  yes- 
terday. She  is  just  as  happy  and  bub- 
bling as  she  ever  was.  Everybody  likes 
Mabel. 

(/j)  H,  yes.  Speaking  of  returning  pro- 
digals, Mrs.  Tom  , Mix  is  back.  Tom 
was  at  the  station  to  meet  herewith  little 
Tomasina,  their  baby  girl,  to  help  as  a 
"welcome  home"committee.  She  has  been 
in  Europe  for  a  number  of  months,  but 
she  says  that  she  is  mighty  glad  to  get 
back  home  again. 

I  wonder  if  Viola  Dana- and  Maurice 
Flynn  are  really  engaged?  I  believe  they 
are,  but  won't  admit  it.  -  I  know  some- 
one asked  Vi  about  it  the  other  day  and 
she  just  said  "Maybe."  "You  know  what 
prophets  say  about  a  woman's  "maybe"! 
As  for  Lefty,  he  smiles  and  looks  happy 
when  their  engagement  is  suggested.  I 
wouldn't  be  at  all  surprised.  Lefty  is  a 
very  nice  boy  .  .  .  and  that's  all  he  is; 
just  a  big  boy.  He  played  opposite  me 
in  several  pictures  and  we  became  really 
good  friends. 


C8 


"Pauline  Starke  can  deny  this  if  she 
wants  to.  She  is  re-engaged  to  Jack 
White.  Jack  and  Pauline  were  "just 
friends"  for  a  while  but  her  beautiful 
diamond  is  back  on  her  beautiful  finger. 

Hollywood  is  "sex"  of  one  and  half- 
a-dozen  of  the  other. 

(Oarmelita  Geraghty  is  engaged  to 
the  most  cultured  man  in  the  film 
industry,  John  Considine.  Without  let- 
ting7 you  know  about  it  John  is  the  pos- 
sessor of  several  university  degrees.  He 
is  a  member  of  the  Yale  Club  and  has 
been  graduated  from  Oxford. 

Carmelita  is  the  tall,  vivacious  daughter 
of  Tom  Geraghty,  the  Peter  Pan  of  Hol- 
lywood. Tom  says  Carmelita  is  only  a 
fair  actress  but  a  darned  good  writer. 

Pauline  Garon  chuckles  when  you  ac- 
cuse  her  of  being  engaged  to  Eddie 
Carewe  with  whom  she  is  always  seen. 

"Why  I've  known  him  all  my  life," 
says  Pauline.  "Sure  I  go  out  to  dances 
with  him.    Wouldn't  you?" 

C[Wbat  Mae  Busch  Heard 

Gossip  comes  first  hand  to  a  woman 
and  though  I've  never  penned  it 
heretofore,  I  am  hoping  it  will  prove  as 
powerful  a  medium  as  the  tongue. 

Being  on  the  inside  of  the  studio  fence 
•we  people  of  the  films  often  get  much 
of  our  screen  news  from  those  not  in 
any  way  connected  with  the  making  of 
motion  pictures.  On  the  other  hand  we 
oftentimes  hear  things  which  we  do  not 
circulate  excepting  in  Hollywood  and  I'll 
pass  on  to  you  all  I've  heard  within  the 
past  month. 

I've  known  Alice  ever  since  the  days 
when  she  was  Alice  Taafe  and  Claire 
Windsor  was  Olga  Cronk  and  we  all 
played  in  extra  scenes. 

We  are  having  a  jolly  time  this  sum- 
mer. Every  Sunday  afternoon  a  number 
of  us,  including  Viola  Dana,  Lottie 
Pickford,  Allan  Forrest,  Jack  Pickford 
and  his  wife,  Marilyn  Miller,  Priscilla 
Dean  and  about  twenty  others  collect 
together  either  at  the  Beach  Club  at 
Santa  Monica  or  at  Norman  Kerry's 
house  at  Beverly  Hills.  At  the  former 
we  enjoy  swimming  in  the  Pacific  and  at 
the  latter  diving  and  swimming  in  Nor- 
man's plunge.  One  Sunday  recently  we 
changed  the  program  a  bit  by  going  to 
the  house  warming  at  Robert  Leonard's 
and  Mae  Murray's.  They  had  just  moved 
from  Hollywood  to  Beverly  Hills  and 
there  never  has  been  such  a  celebrated 
gathering  as  the  one  which  enjoyed  their 
hospitality  that  afternoon  and  evening. 
Bob  and  Mae  Leonard  are  known  for 
their  cordiality  and  any  function  at  their 
establishment  is  not  to  be  missed  for 
a  good  time  is  assured  before  it  begins 


Q  The 

Mae 


girlish  figure  of 
Murray  has  a 
grace  and  poise  evident 
even  in  this  pose.  We 
look  forward  to  "Circe,'' 
her  next  picture. 


Q  Pauline   Garon  has 
ready   qualified  as 
of  the  talkcd-about 


0[  Mae  Busch,  the  au- 
thor. If  you  don't 
believe  it  read  her 
entertaining  gossip. 


Q  The  little  unknown 
Betty  Bronson  ivho  has 
been  selected  to  be  the 
much  beloved  "Peter 
Pan."  Surely  Betty, 
raised  to  this  high  honor 
so  unexpectedly,  must 
"believe  in  fairies." 


<\  Alice  Terry  and 
mut.  .llicc  is 
playing  Great  in 
the  Great  Divide. 


Members  of  the  first -caste  for  the 
film  version  of  the  Lew  Wallace  classic, 
who  were  sent  home  from  Italy,  all  say 
they  have  Ben  Hurt. 

We  had  quite  an  unusual  affair  on  the 
set  the  other  night.  I  am  playing  in 
Mrs.  Par  amor,  which  Robert  G.  Vignola 
is  directing  and  in  which  Pauline  Fred- 
erick, Conrad  Nagel,  Hunty  Gordon  and 
I  have  the  four  feature  roles.  A  dinner 
party  is  supposed  to  be  given  with  a 
number  of  stars  and  directors  present — 
so  to  make  it  very  realistic  several  stars 
and  directors  worked  in  the  scene — as 
extras,  just  to  give  the  proper  atmos- 
phere. We  had  refreshments  and  a  real 
party  spirit  prevailed.  Mae  Murray,  Ai- 
leen  Pringle,  Norma  Shearer,  Eleanor 
Boardman,  Mae  MacAvoy,  John  Gilbert, 
William  Haines,  Hobart  Henley,  the  di- 
rector, and  Robert  Leonard,  the  producer- 
director,  all  appeared.  We  worked  until 
three  in  the  morning,  but  I  am  sure  no 
one  minded  it.  for  it  was  much  more  like 
play  than  work. 

"The  Breath  of  Scandal" — Halitosis. 

Eleanor  Boardman  and  Conrad  Nagel 
are  working  together  again.  They  played 
the  leads  in  the  last  Hobart  Henley 
production,  "Free  Love."  The  censors 
didn't  approve  of  that  title,  so  it  has 
been  changed  to  Sinners  in  Silk.  Now 
Eleanor  and  Conrad -are  being  co-starred 
in  the  new  Henley  production,  which  so 
far  has  not  been  given  a  title. 

By  the  way,  speaking  of  titles,  a  prize 
of  fifty  dollars  was  offered  on  the  lot  to 
the  one  who  thought  of  a  suitable  title 
for  the  King  Vidor  production  Mary  the 
Third.  It  was  taken  from  the  stage 
play,  but  is  said  not  to  be  a  good  box- 
office  name.  So  to  the  one  who 
suggested  Wine  of  Youth,  the  prize  was 
given  and  the  picture  now  bears  that 
name. 

One-cylinder  titles,  such  as  "Salt," 
"Bread,"  "Wine,"  and  "Brass,"  have 
'  opened  up  a  new  field  for  the  title- 
writers.  It  won't  be  long  now  before 
we  see  "lam,"  "Cheese."  "Gin," 
"Cloves,"  "Lead,"  "Coats,"  "Pants," 
"Junk,"  "Cake"  and  even  "Pie,"  a 
comedy. 

King  Vidor  recently  finished  another 
picture.  It  is  His  Hour,  adapted  from 
the  story  of  that  name,  which  Elinor 
Glyn  wrote.  Mrs.  Glyn  looks  so  stunning 
and  so  young  that  one  would  never  in 
the  world  think  of  her  as  a  grandmother. 
She  selected  John  Gilbert  as  the  great- 
est screen  lover  and  after  I  saw  the  pic- 
ture in  the  projection  room  the  other 
day,  I  agreed  with  her.  He  plays  a 
Russian  Prince,  and  I've  never  seen  any- 
thing more  romantic  than  his  interpreta- 


70 


tion  of  the  part.  All  women  arc  going  to 
adore  him. 

Everyone  has  been  urging  me  to  get 
married  and  I'll  make  the  statement  gen- 
eral that  I  don't  see  why  I  should  when 
I  am  happy  as  I  am. 

Ever  since  the  days  when  Pauline  Fred- 
erick first  came  to  the  screen,  she  has 
been  my  ideal.  Therefore  you  may  ima- 
gine the  thrill  and  pleasure  I've  had  work- 
ing in  a  production  with  her.  There 
have  been  some  trying  times,  due  to  the 
fact  that  she  has  been  appearing  at  the 
Playhouse  in  Spring  Cleaning,  which 
meant  she  had  to  be  away  from  the  stu- 
dio every  evening  and  for  Wednesday 
and:  Saturday  matinees.  But  Bob  Vig- 
ncla  mapped  out  a  schedule  which  took 
care  of  that  and  the  rest  of  us  worked 
in  our  particular  scenes  when  she  was 
not  present. 

Alice  Terry  and  I  lunch  together  every 
day  and  have  a  great  time  discussing  the 
days  when  we  were  extras  and  were 
thrilled  and  happy  when  we  worked  stead- 
ily for  a  week  and  accumulated  enough 
money  to  buy  a  new  dress  or  hat.  We 
skipped  away  one  afternoon  last  week 
and  went  into  Los  Angeles  to  the  Unique. 
A  saleslady  there  from  whom  we  pur- 
chased in  our  less  prosperous  days,  we 
now  stop  in  and  chat  with  and  buy  clothes 
from  whenever  we  have  the  time.  She 
u;ed  to  be  of  great  help  to  us  by  drag- 
ging out  the  best  bargains  in  the  place. 


Hollywood  is  full  of 
"No-women." 


'Yes-men"  and 


We  have  had  a  circus  here  on  the  lot. 
It  is  being  used  in  He  Who  Gets  Slapped, 
which  Victor  Seastrom  is  directing  and 
in  which  Lon  Chaney  is  playing  the  lead- 
ing role.  It  was  like  going  to  a  real 
tent  show. 

Marion  Davies  arrived  in  Los  Angeles 
this  week.  She  hadn't  decided  yet  whether 
k  is  just  to  vacation  or  whether  she'll 
make  a  picture.  Her  director,  Sidney 
Olcott,  is  now  in  the  midst  of  a  Norma 
Talmadge  picture  and  it  is  said  would 
like  to  remain  here  on  the  coast. 

A  gag-man  is  an  undignified  scenario- 
writer  who  attempts  to  put  a  celluloid 
collar  about  the  neck  of  Mirth. 

The  momentum  of  this  gossip  has  be- 
come so  rapid  that  I  find  it  difficult  to 
make  a  safety  stop.  So  I'll  have  to 
apply  the  emergency  brake  and  stop  ab- 
ruptly, with  a  line  on  the  least-gossiped- 
about  girl  in  Hollywood — Lois  Wilson. 

She  has  gone  to  London  to  appear  at 
the  Exposition  there  and  writes  back 
that  she  is  having  a  glorious  time.  She 
is  to  appear  in  another  picture  upon 
her  return,  which  is  much  on  the  same 
type  as  The  Covered  Wagon,  in  which 
1  she  registered,  such  a  hit  last  year.  The 


CI  The  lot,  the  props,  the 
cast,  and  Sydney  Olcott 
trying  to  make  a 
"Sacrifice"  out  of  them. 


G[  Lon  Chaney  is  the 
fascinating ,  mys- 
terious clown  of 
"He  Who  Gets 
Slapped." 


(\Del  Andrews,  director  of  the  "Go-Getters,"  earns  over  $1000.00  a  week,  his  as- 
sistant earns  $200.00  a  week  and  the  camera  costs  $3000.00 — now  you  understand 
why  it  costs  a  quarter  to  see  a  vio'vie. 


Q  Richard^  Tal- 
madge  is  bet- 
ter and  out  of 
the  hospital. 
He  says  it's 
the  first  time 
a  nurse  re- 
leased him. 


C[Alberta  Vaught 
in    exchange  jo. 
being  photo 
graphed  all  day 
like  this 


— goes  home 
im  this — H  e  r 
Rolls  Royce, 
like  its 

a 


Q  Norma  Shearer 


(\Mdrie  Prevost. 
Once  an  extra 
girl  and  still  an 
extra  girl,  that  is 
extra  fine  100% 
girl.  See  Iter  for 
yourself  in 
"Tarnish." 


new  picture,  by  the  same  author,  Emer- 
son Hough,  is  called  North  o'  Thirty-Six, 
and  is  being  directed  by  James  Cruze, 
with  Jack  Holt  in  the  fading  male  role. 

^\  Listen!  By  Billie  Dove 

IT  looks  like  we  are  going  to  lose  one  of 
the  screen's  best  character  actors. 
George  Fawcett,  whom  we  all  know  and 
love,  is  becoming  a  cave-man!  Before 
we  realize  it,  he  will  be  cast  as  America's 
most  athletic  foot-ball  player  or  ''The 
Tarzan  of  Tarzans."  While  playing 
with  Gloria  Swanson,  he  was  supposed  to 
treat  her  rather  roughly,  and  finally 
throw  her  out  of  the  picture.  After  re- 
hearsing, "Camera"  was  called,  and  Mr. 
Fawcett  went  through  the  action,  finish- 
ing by  grabbing  Miss  Swanson  with  all 
his  strength,  and  throwing  her  out  of 
the  scene,  causing  the  surprised  Gloria 
to  fall  into  Director  Allan  Dwan's  lap, 
sending  his  megaphone  flying  across  the 
set  and  almost  knocking  the  camera  to 
the  floor.  Mr.  Fawcett  explained  later 
that  he  had  no  idea  that  Miss  Swanson 
was  so  light,  but  after  seeing  the  black 
and  blue  marks  on  her  arms  the  follow- 
ing day,  I  have  a  suspicion  that  a  new 
sheik  is  on  the  horizon. 

The  films  "For  Sale"  ■.  and  "Single 
Wives"  are  known  in  Hollywood  as 
products  of  the  "First  National  Bunk." 

Q.  Grace  Kingsley  Tells  Some 

ebe  Daniels  has  bobbed  her  hair! 
Bebe  says  it  was  for  her  latest  pic- 
ture, but  I  have  a  little  hunch  that  she 
wanted  to  cut  it  and  that  the  picture  af- 
forded a  good  excuse.  Well  anyway,  she 
looks  lovely,— perhaps  a  little  more  so 
than  before,  if  that  is  possible,  and  even 
if  there  will  be  a  number  of  fans  who  re- 
gret seeing  less  of  her  beautiful  black 
hair,  they  will  have  to  admit  that  Bebe's 
shingle  is  most  becoming. 

"North  of  36"  shoidd  bust  all  box- 
office  records.  Mebbe  it's  the  tale  of 
a  necklace. 

Peter  Pan  is  to  be  made  in  Hollywood 
after  all.  Betty  Bronson,  who  will  play 
the  title  role,  is  very  much  pleased  over 
the  fact,  as  her  home  is  there.  She  lives 
with  her  father,  mother,  two  brothers 
and  sister,  all  the  latter  three  younger 
than  herself,  in  a  tiny  Hollywood  bun- 
galow. 

Betty  won't  talk  much  about  playing 
Peter  Pan.    She  says: 

"I  can't  imagine  putting  Peter  Pan 
into  words.  I  shall  play  him,  and  that 
will  be  what  I  think." 

She  is  the  loveliest  little  creature,  with 
a  rich  peaches-and-cream  complexion,  big 
greenish-gray  eyes  that  sparkle,  and  a 
most  expressive  face  that  dimples  allur- 


72 


ingly  when  she  smiles,  and  the  loveliest 
small  hands  in  the  world.  She  is  so 
full  of  joy  that  she  has  captured  this 
wonderful  part  that  she  giggles  and  clasps 
her  small  hands  pn  Jtne  slightest  pro- 
vocation. She  is  exquisitely  magnetic, 
and  being  an  intelligent  young  actress, 
with  just  enough  experience  and  not  too 
much,  will  probably  be  a  big  success  in 
the  part. 

Larry  Semon's  comedies  are  full  of 
hokum  while  Mack  Sennett's  reek  of 
Turpentine. 

Mabel  Julienne  Scott  has  captured  the 
coveted  part  of  Bethsheba,  in  Hobart 
Henley's  picture  So  This  Is  Marriage. 

Just  about  one  hundred  young  ladies 
tried  out  for  the  part,  but  Miss  Scott 
won,  after  she  had  posed  in  tights,  as 
did  the  other  young  actresses  who  tried 
out  for  the  part. 

She  was  engaged  to  marry  a  young 
aviator,  and  had  practically  retired  from 
the  screen.  He  was  killed  in  doing  stunts 
at  the  Santa  Monica  field,  and  she  felt 
it  necessary  to  return  to  work. 

A  large  part  of  So  This  Is  Marriage  is 
to  be  done  in  colors,  especially  the  Bib- 
lical epoch,  in  which  Miss  Scott  appears. 

"I  just  adore  Milton  in  'The  Sea 
Hawk'— he  has  such  a  'Silly'  role,"  bur- 
bled one  of  his  flapper  adorers. 

Qfiverheard  by  G.  W.  Marion 

Peter  Pan,  Betty  Bronson — that's  all 
they're  talking  about  in  Hollywood! 
The  woods  are  no  longer  full  of  aspi- 
rants— the  papers  conjure  no  more,  and 
many  an  ingenue  wept  all  day  Saturday 
and'  Sunday  over  the  loss.    Ethel  Wales, 
however,  is  the  only  one  who  really  ad- 
mits the  tears,  and  she  says  she's  been 
counting  on  the  part  ever  since  Para- 
mount acquired  the  screen  rights  seven 
years  ago.  But  little  will-o-the-wisp  Betty 
is  all  right,  and  she's  making  a  big  hit 
with  everybody  who  meets  her.   At  least 
one  thing  is  sure — nobody  can  now  come 
forth  with  soliloquies  on   "Why  didn't 
they  pick  so  and  so"  and  "They  certainly 
made  a  big  mistake  on  this  and  that" 
—  and  they  would  undoubtedly  have 
picked  to  pieces  any  prominent  player 
who  could  have  been  chosen,  except,  per- 
haps, Mary  Pickford.    Which  leads  us 
to  wonder  about  who  will  play  "Wendy," 
the  little  girl  whom  Peter  takes  away  to 
the  "Never-Never  Land".  The  good  sages 
of  Hollywood  say  that  the  part  was  of- 
fered May  McAvoy,  but  that  she  refused 
on  the  grounds  that  if  she  couldn't  play 
"Peter"  she  wouldn't  play  anything.  May- 
be she's  right! 

Recently  at  the  formal  opening  of  one 
of  the  new  Hollywood  sky-scrapers, 
Monte  Blue  was  the  guest  of  honor  and 


<\The  land  of  Make-believe— Western  Street  scene  from  "Pal  O'Mine"  on 
the  F.  B.  0.  Lot. 


Gilsn't  she  light  on  his  feet- Billy <e  Beck  and  Ernest  Belcher  her  dance  in- 
structor. 


q 


Photographing  Mae  Busch's  twinkling  toes  in  scene  for  "Mrs.  Paramor.' 


01  Bill  Tilden,  The  Great.    Champion  of  all  the  nets  calls  upon 
Constance  Talmadge  ivho  can  score  a  feiv  aces  herself. 


prize  drawing-card.  When  Monte  arrived 
the  building  was  so  crowded  with  ad- 
mirers that  he  found  it  impossible  to 
push  his  way  through  the  mob  that  was 
patiently  awaiting  his  coming. 

"Say,  young  fellow,"  says  he  to  a  kid 
of  about  ten,  "I'm  Monte  Blue.  Sup- 
pose I  could  get  through?"  The  kid 
gave  him  a  deep  and  definite  glance. 
"Aw,  gwan,"  he  replies,  "Don't  try  to 
kid  me.  You  look  a  little  bit  like  Rod 
LaRoque,  but  you  sure  ain't  Monte  Blue." 


The  difference  between  the  film  co- 
mediennes of  today  and  yesterday  is 
that  the  latter  were  always  chased. 

Those  whose  interests  and  sympathies 
are  for  things  and  peoples  of  the  Mo- 
tion Picture  World  are  now  preparing  to 
avert  a  publicity  sandstorm  within  the 
Metro-Goldwyn-Mayer  field:  Reginald 
Barker,  who  has  been  heralded  as  the 
director  of  The  Great  Divide,  has  many 
friends  and  supporters  who  want  to  know 


why  John  Stahl  is  doing  the  actual  di- 
recting of  the  picture,  whilst  Barker  walks 
around  the  stage,  seemingly  wondering 
what  it  is  all  about. 

When  the  storm  sweeps  over  the  ho- 
rizon of  secrecy,  look  out  for  hot  winds 
and  clouds  blinding  of  sand. 

Virginia  Valli,  the  demure  and  wonder- 
fully feminine  star,  is  writing,  under  the 
name  of  Pat  Patt,  a  thrilling  tale  of  legal- 
ized crooks. 


"Bigger.  Far  bigger.  And  you  will  be 
among  them,  playing  to  millions  instead 
of  to  thousands." 

"And  you?" 

Cartney  shook  his  head.  "Years  later 
they  may  acknowledge  -directors.  But 
that  will  be  too  late  for  me.  .  .  My 
next  picture  will  be  my  last  for  Edison. 
Shirley.    I  was  fired  today." 

Slade  Cartney's  final  production  passed 
movie  understanding  in  subtlety  and  fin- 
esse; the  cashier  seemed  relieved  when 
he  handed  the  director  the  last  slim  en- 
velope; and  if  Shirley  observed  any 
change  in  the  man  who  waited  at  the 
studio  gates  to  say  good-bye,  it  was  ab- 
sence of  freedom  from  stress,  as  though 
Cartney  was  glad  to  be  cut  adrift. 

"I  feel  like  a  coward,  Shirley,"'  he 
said.  "I'm  going  to  sink,  but  any  time 
I  have  enough  money  to  pay  tor  a  --eat 
I'll  watch  for  your  pictures.     I  want 


(j[Port  of  Missing  Directors- — jrom  page  26 


"Not  as  tired  as  you  look,"  she  an- 
swered, watching  his  fingers  deftly  turn 
the  clay.  Her  own  she  drew  wearily 
down  her  hot  cheeks,  iurrowing  her  make- 
up. 

"I  hope  you  never  are,"  he  said.  "And 
never  as  old  as  I  feel.  .  .  So  you'll 
be  working  in  a  picture  for  me  tomorrow, 
Shirley.  In  a  way  I'm  sorry.  You  know 
I  never  made  a  success." 

"Well,  have  I?"  she  wondered,  slip- 
ping into  a  chair.  "Sometimes  I  feel 
so  blue  about  it  all.  It  seems  so  hope- 
less, with  nothing  in  sight.  Oh,  I'd  like 
to  give  the  whole  thing  up,"  she  con- 
fessed. "I  had  an  offer  yesterday  to  go 
back  to  the  stage,  just  a  small  part,  but 


"Don't  take  it!"  Cartney  ordered.  "In 
a  few  years  pictures  will  surpass  the 
stage.  Grow  with  them,  girl.  You  will. 
I've  watched  you.     You're  young;  you 


have  fire ;  the  camera  sees  you  as  mil- 
lions of  eyes  will  want  to — as  I  myself 
would  wish  to  model  you  in  this  clay 
if  I  had  that  power." 

"But  they  offered  to  pay  me  ." 

Again  he  interrupted.  "Whatever  it 
was,  it  wasn't  nearly  enough.  Stick  to 
it,  Shirley.  Work  and  wait."  He  took 
her  hand  gently;  bis  fingers  stained  her 
flesh  with  clay.  Then  pointing  to  figur- 
ines about  the  room,  "They  look  natural, 
don't  they?  Faces  of  people  you  might 
see  on  any  street?  Well,  some  day  men 
will  model  celluloid  in  just  that  way. 
The  screen  will  mirror  bits  of  life;  then 
the  screen  will  be  great.  You  have  some- 
thing in  you  that  will  find  expression." 

For  an  instant  his  eyes  gleamed;  they 
warmed  again,  were  desolate.  His  tongue 
denied  him  inspiration. 

"You  mean  there  will  be  stars  on  the 
screen  as  there  are  now  on  the  stage?" 
she  asked. 


74 


SCEEENLAN© 

to  see  you  rise  to  counterbalance  my  own 
descent,  while  if  you  ever  see  a  bum 
wandering  around,  don't  pity  me,  but 
make  an  object  lesson  and  say,  'There 
goes  a  man  who  did  not  have  the  courage 
to  stick.'  " 

"Dorft  talk  that  way,"  Shirley  en- 
treated, pressing  his  hand.  "You'll  come 
back." 

Cartney  slipped  away;  but  his  eyes 
seemed  to  remain,  haunting.  Bright  they 
were  against  early  night;  and  in  Shirley's 
fancy  they  reappeared  often  until  she 
read  into  them  a  debt  she  could  not  re- 
pay. 

Years  concealed  Cartney.  Where  he 
went,  how  or  if  he  existed,  nobody  knew. 
He  as  forgotten;  for  studio-life  runs  too 
swiftly  for  memories  while  one  lives  it; 
and  afterwards  recollections  are  too 
stained  with  opportunities  thrown  away 
for  anyone  to  cherish  them.  So  Cartney 
may  have  found  the  Port  of  Missing 
Directors,  and  if  this  Port  boasts  a  pic- 
ture theatre,  he  must  have  gloried  in 
Shirley's  career,  from  Edison  to  Famous 
Players  and  Paramount,  and  found 
strange  significance  in  her  pictures, 
Good-bye  Bill,  The  Final  Close-up,  The 
Rescuing  Angel,  The  Winning  Girl  and 
Treasure  Island.  Only  his  influence  per- 
sisted. It  guided  Shirley  to  stardom  with 
the  Fix  Film  Corporation;  and  as  one 
by  one  Cartney's  predictions  were  ful- 
filled— stars  shone,  directors  grew  in  re- 
cognition, the  screen  approximated  life — 
her  sense  of  gratitude  deepened  into  ad- 
miration of  his  splendid  visions. 

But  even  if  she  had  found  Cartney, 
what  could  she  have  done  for  him?  Of- 
ten Shirley  wondered.    .  . 

(T^n  the  New  York  market  arrived  un- 
expectedly  a  motion  picture  which 
various  distributors  inspected  and  refused 
beforeone,  short  of  film  to  release,  took 
it  half-heartedly.  The  title  cannot  be 
mentioned.  Sufficient  to  say  that  the 
production  debutted  in  an  obscure  thea- 
tre. But  the  public  found  it,  sat  very 
still  through  six  reels,  entranced  by  what 
blase  critics  had  overlooked;  a  pure  vein 
of  emotion,  of  heart-interest,  of  humanity 
that  Slade  Cartney  had  endeavored  to 
present  years  before.  Such  an  event  has 
been  paralleled)  many  times.  Even  the 
famous  Humoresque,  it  is  alleged,  lay  for 
months  on  the  shelf,  derogated  by  pro- 
ducers as  too  mediocre  for  anything  but 
Summer  presentation.  Ponjola  soared  to 
success  despite  First  National's  distrust 
of  it.  Down  to  the  Sea  in  Ships  and 
Nanook  of  the  North  were  offered  to 
many  companies  before  Hodkinson  and 
Pathe  accepted  them.  Pola  Negri's  Pas- 
sion was  bought  for  a  song. 

So  with  this  picture  Slade  Cartney 
had  made.  How  he  did  it,  where  he 
found  his  backers  were  minor  mysteries, 
unimportant   compared  with   facts:  the 


forgotten  director,  the  old  failure  had 
come  back;  four  companies  competed 
for  his  services;  let  him  refuge  in  a  cave, 
still  fame  must  drag  him  out,  set  him 
dominantly  in  the  film  world  and  pro- 
claim his  name  in  twenty-four-sheet  post- 
ers. 

So  fame  winged  over  telegraph  wires 
to  California — and  never  found  hirn. 

As  completely  as  he  had  flashed  back 
had  Cartney  gone  again.  Having  proved 
himself  with  one  grand  gesture,  he 
dropped  from  sight.  He  must  have 
checkled  as  he  wandered  on  .  .  .  Wan- 
dering on.  .  .  Old  Slade.  .  .  Vanished 
like  time.  .  .  More  years.  .  . 

And  Shirley's  debt  unpaid. 

Verbatim  now  as  Shirley  related  the 
rest  under  coercion;  for  a  news- 
paper pal  in  Honolulu  had  heard  the  tale 
out  there  and  written  me. 
Said  Shirley  reluctantly: 
"We  had  gone  to  Honolulu  to  make 
island  sequences  for  South  Sea  Love. 
For  local  color,  too.  And  you  know  what 
that  color  is.  By  day  the  savage  blues 
of  sky  and  sea.  From  the  Fish  Markets 
out  to  Waikiki,  Hawaiians,  Japanese, 
Mongolians,  browns  and  yellows,  stream- 
ing with  white  residents  and  tourists. 
The  purples  of  night  so  deep  that  you 
feel  too  small  to  breathe.  Tomtoms  in 
bazaars,  a  jazz-band  at  the  Moana,  uke- 
leles  tinkling  through  groves,  all  nodding 
like  sleepy  giants,  and  every  air  laden 
with  crash  of  breakers  on  the  beach,  with 
tropic  incense  and  the  hum  of  more 
insects  than  I  ever  believed  lived  in  this 
world. 

"On  Waikiki  an  old  man  modelled 
things  in  wet  sand.  Tourists  gave  him 
money,  which  he  received  as  something 
incidental  to  life,  but  not  to  be  strug- 
gled for.  Oh,  I  should  have  known  him 
at  once;  but  it  was  eight  years  or  more 
since  I  had  seen  Slade  Cartney,  and  there 
seemed  so  little  of  him  left  beneath  a 
stragling  white  beard  and  tattered  ducks. 
Just  bones,  baked  brown  as  rock.  So 
days  passed  before  his  face,  vaguely  re- 
membered, assumed  reality  for  me. 

"I  waited  then  until  late  one  afternoon 
when  the  beach  was  cleared.  He  sat 
watching  the  incoming  tide  wipe  out 
his  statues  of  sand. 

"Aren't  you  Mr.  Slade  Cartney?"  I 
asked. 

"He  looked  up  emptily,  his  eyes  blank 
as  if  blinds  were  drawn  behind  their 
pupils.  T  really  don't  know.  I  may  be,' 
he  answered. 

"  You  don't  recognize  me?'  I  tried 
again. 

"  'When  you  put  it  that  way  I  feel 
I  should.  But  candidly  I  remember  no 
one,'  Cartney  replied.  What  you  are 
saying  now  I  will  have  forgotten  tomor- 
row.   You  see  I  have — no  memory.' 


75 

Shirley's  voice  lowered  in  the  telling. 
"Cartney's  one  big  picture  had  cost  him 
his  mind.  To  me  he  was  a  tragedy  there 
on  the  beach,  this  man  with  all  his  grand 
creative  imaginings  wrecked  on  Waikiki. 
Standing  by  him,  I  felt  so  helpless.  I 
owed  him  so  much.  Presently  he  en- 
quired: 

"  'You  make  pictures,  don't  you?  I 
saw  you  doing  something  before  a  camera 
today.' 

"I  thought  it  was  a  gleam  of  return- 
ing memory,"  Shirley  continued.  "Im- 
mediately I  asked  him,  'Do  you  ever 
go  to  moving  pictures?'  He  shook  his 
head  and  said  he  had  never  seen  one 
in  his  life.  And  all  the  time  he  smiled 
so  happily  as  though  nothing  troubled 
him.  And  after  all  nothing  can  trouble 
a  man  whose  mind  is  not  filled  with 
ghosts  of  the  things  he  should  have  done. 
Crazy  impulses  took  me.  I  wanted  to 
give  him  money.    And  yet  I  couldn't. 

It  seemed  so  much  like  desecration.  He 
had  no  wish  for  money;  it  meant  nothing 
to  him.    But  a  mind  lost  does  not  mean 
visions  lost.    His  brain  was  still  as  capa- 
ble of  creations  as  his  fingers  could  build 
figures  in  the  sand.     I  had  a  sudden 
thought  to  take  him  back  to  America, 
to  start  him  afresh  where  he  left  off, 
right  at  the  crest  of  one  of  the  biggest 
successes  that  ever  a  director  scored.'' 
Soft    mists    suffused    Shirley's  eyes. 
Their  gray  depths  filled.   Thus  she  must 
.  have  appeared  to  Cartney,  creator,  beach- 
artist  and  happiest  man  in  the  world, 
when  the  sun  set  with  fire  over  Waikiki 
and  clouds  tumbled  down  Diamond  Head 
and  gulls  commenced  their  eerie  wailing. 
She  spoke  again,  tightly. 
"Oh,   I  wanted  to  bring  him  back. 
It  was  the  only  repayment  I  could  make. 
But  was  it?    A  contrast  came  to  me: 
the  harried,  driven  Cartney  of  years  ago 
and  this   contented  man,  here   on  the 
beach,  taking  childish  delight  in  the  sand 
he  modelled  and  the  dreams  he  dreamed 
into  his  figures  until  to  him  they  lived. 
To  repay  would  be  to  rob  him. 

"I  turned  away — just  left  him  there. 
I  felt  terribly  chokey.  Soon  his  steps 
scuffed  after  me. 

"  Tf  you're  making  any  more  pictures 
tomorrow  would  you  let  me  be  in  one 
of  them?'  Cartney  requested.  'Won't 
that  be  funny?  I'll  be  able  to  tell  every- 
one that  I'm  an  actor!'  " 

When  you  see  Shirley  Mason  in  South 
Sea  Love,  watch  for  Slade  Cartney  among 
the  crowd.  By  his  beard  shall  ye  know 
him.  By  his  beard  and  nothing  else; 
for  names  are  lost  to  many  in  the  Port 
of  Missing  Directors  and  a  man  is  as 
his  make-up  pictures  him. 

Putting  yourself  to  Shirley's  test, 
moreover,  isn't  preservation  of  one  man  s 
happiness  the  fullest  discharge  of  any 
woman's  score? 


e 


in 


the  <2Vk 


T 


^HE  morning  sun  had  entered 
the  actor's  room  after  daylight. 
"Wonder  if  that  dame'll  know 
enough  to  rustle  grub?"  he 
wondered,  raising  his  arms  and  stretch- 
ing lazily  in  a  bed  whose  fresh  linen  and 
covering  he  had  discovered  in  a  closet. 

A  sound  came  from  below.  A  sound 
that  turned  the  house  into  a  stage  set  and 
acted  as  a  cue  for  the  actor  to  resume 
his  role. 

Reaching  for  the  clothes  he  had  hastily 
discarded,  he  donned  them  and  assumed 
the  dejected  droop.  Then,  standing  be- 
fore a  mirror,  he  renewed  shadowed  lines 
in  a  way  that  wouldn't  appear  artificial. 
Renewed  them  with  something  he  took 
from  his  pocket.  Shabby  clothes  and  a 
carefully  assumed  slouch,  added  to  a  list- 
less, let-down  air,  abetted  by  the  fact  that 
he  was  badly  in  need  of  a  shave,  effec- 
tively completed  the  ensemble. 

On  entering  the  dining-room  down- 
stairs, it  was  evident  that  this  was  the 
room  in  which  the  girl  had  passed  the 
night.  A  nightgown  decorated  one  chair, 
and  the  high-heeled  pumps  reposed  under 
the  table.  Powder  and  rouge  dusted  the 
fine  old  buffet,  and  the  plumed  hat 
stared  at  him  from  the  mantle.  From  a 
comfortable  old  settee,  a  velvet  portiere 
hung  drunkenly,  and  various  articles  of 
lingerie  were  strewn  about  in  confusion. 
Sadie,  herself,  could  be-  glimpsed  out  on 
the  porch. 

"I  sav!"  he  called,  "how  about  break- 
fast?" 

The  girl  turned  with  a  start.  She  was 
dressed  in  the  same  gay  dress,  and  the 
morning  light  shone  around  her. 

"Yeah?"  she  answered,  "how  about  it?" 

Hoffman's  teeth  flashed  in  his  sallowed 
face. 

"What's  the  matter?  Couldn't  you  find 
anything?" 

Sadie's  eyes  met  his  sullenly. 

"Oh,  there's  plenty  enough  around,  I 
guess.    It's  merely  a  case  of  getting  it!" 

Flowers  drowned  her  atrocious  scent. 
His  voice  took  on  a  new  quality. 

"See  here,"  he  said  in  a  tone  that  wasn't 
all  humor,  "don't  forget  for  a  minute 
that  I'm  managing  this  show  and  that 
you're  just  a  little  bum  in  the  chorus!" 

Sadie's  tongue  licked  her  red  lips.  Her 
glance  was  a  flash  of  insolence. 


Bj/  Rose  Gleason 

Continued  from  September  Issue 

"And  what's  more!"  he  added,  sudden- 
ly so  strong-jawed  that  the  fury  in  her 
look  clouded,  "I'd  advise  you  to  wash 
your  face.  It  looks  awful  by  day  with 
paint  on  it!  Meanwhile,  /'//  see  what 
there  is  for  us  to  eat!" 

If  it  were  possible  that  contempt  could 
scorch,  Sadie's,  apparently,  would  have 
withered  him. 

"Huh!"  she  said,  not  be  outdone  in 
compliment.  "Where'd  you  get  the  idea 
you  were  easy  to  look  at!" 

"You  heard  what  I  said!"  he  ordered, 
"and  as  for  that  dress,  it  ought  to  be 
fumigated!  Your  perfume's  likely  to 
asphyxiate  the  fishes  in  the  lake." 

Sadie  raised  both  hands. 

"My  Gawd!"  she  said,  turning  indoors, 
"if  I  ain't  got  mixed  up  with  a  nut. that's 
cracked  on  the  sweet  and  simple!  Start- 
ed out  life  as  a  show-girl,  but  now  I'm  a 
bum  in  the  chorus!  Mus'  certainly  've 
ben  looney  when  I  signed  up  on  this  con- 
tract!" 

It  was  that  reference  to  having  been  in 
and  of  the  theatre,  as  well  as  many  of 
her  expressions,  that  prompted  Hoffman 
to  call  after  her. 

"What's  that  about  having  been  a 
show-girl?  Ever  really  been  a  profes- 
sional?" 

"Sure  I  have!"  she  answered,  "wasn't 
that  the  cause  of  it!" 

"Cause  of  it?  Cause  of  what?"  he  de- 
manded. 

"Why — why — "  she  replied,  "well,  oh, 
you  know,  my  downfall!" 

She  spoke  the  word  as  if  voicing  it  per- 
mitted him  to  glimpse  a  sorrowing  soul, 
yet  her  eyes  met  his  neither  vague  nor 
troubled.  "J'like  to  hear  about  it?"  she 
queried,  watching  him. 

"I  should  say  not!"  he  answered  as 
though  with  the  suggestion  came  nausea. 

Over  the  girl's  look  spread  a  veil;  a 
look  that,  in  a  way,  barricaded  her 
thoughts. 

"Well,  you  certainly  are  queer!"  she 
answered,  "first  time  I've  failed'  to  put 
that  across.  Always;  did  think,  though, 
it  was  a  bum  gag,  even  though  the  other 
guys  all  fall  for  it!" 

When  she  joined  Hoffman  later  on  it 
was  evident  she  had  not  obeyed  his  or- 
ders. If  anything,  she  had  refreshened 
her  make-up,  for  her  eyes  were  heavily 
mascaraed,  and  her   rouge  had  taken  on 


an  additional  touch.  Even  her  fair-col- 
ored hair  was  frizzed  more  than  usual. 

"Coffee,  jam  and  crackers'll  have  to  do 
until  I  go  into  town,"  said  the  actor  de- 
ciding for  the  time  to  ignore  this. 

Sadie  glanced  over  the  food  he  had  laid 
out,  and  smoothed  her  slim  hips  with  a 
downward  motion. 

"Oh,  don't  apologize!"  she  said  with 
lifted  lids,  "I've  known  other  swelled 
heads  who've  pulled  them  lines  about 
tryin'  to  run  the  whole  show.  Poor  grub's 
the  least  I  expected.  The  only  thing  I'm 
thinkin'  of  is,  won't  the  owners  of  this 
place  mind  our  livin'  all  over  it?" 

Hoffman  busied  himself  with  the  coffee, 
the  while  he  did  his  best  to  explain  mat- 
ters. 

"They  said  I  could  have  the  run  of  the 
place,  but  after  today  we'll  live  in  the 
servants'  quarters.  Now  come  on  and 
let's  eat  and  after  that  I'll  run  in  and 
get  provisions.  Deering  opened  an  ac- 
count for  me  at  one  of  the  stores." 

"Deer—?" 

"The  owner." 

Sadie  looked  at  him  thoughtfully. 
"Speakin'  of  names,"  she  said,  "what's 
yours?" 

"You  can  call  me — Jim,  and  we'll  let 
it  go  at  that,"  he  said,  reaching  into  his 
pocket  for  a  cigarette. 

"Oh, — all  right!"  said  Sadie,  apparent- 
ly unaware  of  evasion,  "after  all,  Cutey, 
what's  a  name  more  or  less!" 

During  breakfast  she  proved  rather  fac- 
titious. 

"In  the  country  we  get  preserves, — and 
in  the  city  we  get  pickled!"  she  said, 
helping  herself  omnivorotlsly  and  spoiling 
an  old  story. 

Hoffman  felt  no  desire  to  rectify  it 
Later  he,  announced  his  departure. 

"I'll  order  the  stuff  sent  up,  and  try  tp 
be  back  early,"  he  informed  without  pre- 
liminary remarks  other  than  those  that 
were  absolutely  necessary. 

Rising  from  the  meal,  Sadie  had 
searched  and  found  a  few  copies  of  hu- 
morous magazines.  With  these  she  had 
sojourned  to  a  chair  she  had  dragged  out 
to  the  porch,  and  that  was  the  place 
where  the  actor  had  followed  her.  She 
coolly  accepted  his  announcement. 

"On  your  way!"  she  said  so  airily,  that 
Hoffman  wished  fervently  he  had  not 
bothered  her,  "and  let  your  conscience  be 


76 


your  guide,  baby!"  Then  she  turned 
again  to  the  magazines. 

Once  he  was  out  of  sight,  however,  she 
rose  hastily  and  started  on  a  tour  of  the 
rooms.  Touching  here  and  there  quaint 
old  relics;  examining  antiques;  strangely 
enough,  at  times,  she  even  patted  them. 
About  noon,  a  delivery  wagon  brought 
provisions,  left  them  on  the  back  porch 
and  immediately  drove  off.  After  lunch- 
eon she  straightened  up  the  kitchen.  Fre- 
quently she  stopped  and  looked  down  the 
road.  Finally  she  decided  to  take  a  long 
walk. 

There  was  a  shady  path  around  the 
lake,  and  the  shoes  she  had  on  were  con- 
ducive to  comfort.  The  grass  was  green 
and  she  found  dim,  mossy  pools.  Dis- 
covered little  live  things  that  hurried  and 
scurried.  All  about  her  were  bushes  that 
were  sweet  smelling.  Nature  herself, 
framed  no  sentences,  but  whatever  was 
the  message,  these,  her  handiwork  con- 
veyed, it  left  Sadie,  as  it  does  us  — 
mystified.    Fin  a  world  that  lay  away 


and  beyond,  there  was  a  great  rushing 
and  scampering,  but  here  Life'  was  breath- 
ing quietly  and  restfully,  and  it  was 
breathing  with  a  sweet  breath. 

Presently  she  returned. 

''Heavens!"  she  said  apprehendingly 
approaching  the  house,  ''suppose  he  were- 
n't to  come  back!" 

She  spent  an  evening  sitting  through 
hours  that  dragged  lengthily.  Watching 
the  lake  reflecting  the  crescent  moon;  lis- 
tening to  strange,  odd  voices.    A  frog 


croaked.  Came  the  wail  of  a  whip-poor- 
will.  Finally  she  heard  a  motor;  and 
presently,  she  could  see  a  car  coming 
along  the  road.  Opposite  the  house  it 
came  to  a  dead  stop,  whereupon  a  thor- 
oughly masculine  voice  called  out: 

"Hey!  Lady!  C'mere  a  minnit! 
Think,  perhaps,  this's  yer  'usband!" 

Sadie  rose  with  a  quickening  pulse;  a 
sickening  sensation;  an  odd  premonition. 
By  the  time  she  reached  the  road  two 
forms  stood  beside  the  car.  One  was 
speechless  and  evidently  puzzled,  the  other 
hatless  and  strongly  argumentative. 

"Sail  right!  You're  a  goo  sport!  'Ere 
take  thish  an',  believe  me — mush  'bliged ! " 

"What's  the  matter?"  Sadie  asked, 
slightly  fearful. 

The  puzzled  one  displayed  refreshened 
interest. 

"Says  he's  the  caretaker  'ere,  ma'am, 
and  hired  me  to  bring  him  along.  Picked 
'im  up  down  at  the  end  of  the  road.  He 

couldn't  "  the   man  grinned,  "just 

make  it!" 


'Take  it  from  me,  if  you  hadn't  been  soused,  you'd  certainly  've  broken  your  leg,"  she  said. 


Aided  by  the  machine's  lights,  Sadie 
beheld  Hoffman  apparently  much  the 
worse  for  wear,  drunk,  and  obtrusively 
maudlin.  His  clothes  were  stained  and 
dust-covered;  his  language  strongly  com- 
placent; his  air  one  of  great  benevolence. 

"You  can  go,"  said  Sadie,  dismissing 
one  and  thoroughly  inspecting  the  other, 
"he's  what  he  said.   I'll  take  care  of  him." 

Hoffman  watched  the  car  till  it  had  dis- 
appeared, then  he  turned  to  her,  benign — 
noble. 

"Nish  fella!"  he  said,  conferring  upon 
her  what  he  evidently  considered  was  a 
piece  of  news. 

Sadie  closed  up  the  distance.  One  arm 
went  around  his  waist,  and  with  the  other 
hand  she  drew  him  until  he  settled  against 
her  weightedly  . 

"You  come  here  again  like  this,  and, 
believe  me,  I'll  murder  you!"  she  said, 
pantingly  assisting  him  along  the  walk. 

At  this  he  stood  stock  still. 

"Shadie's  mad!"  he  announced  to  a 
starlit  world  in  which  a  moon  hung  sus- 
pended in  misty  heights. 

Sadie's  small  back  curved  to  him.  Her 
thin  arms  half  urged,  half  steered  him 
aright. 

"Meant  to  come  'ome,"  he  said,  "but 
you  know  bow  tish!  Happened  to  meet 
some  goo'  fellas!" 

Sadie  waxed  inarticulate.  She  looked 
anxious;  depressed, — even  worried.  Quiet- 
ly, yet  insistently,  she  urged  him  on. 

Now,  the  manner  in  which  the  actor 
had  actually  spent  the  day  was  in  drift- 
ing from  one  motion  picture  house  to  an- 
other, doing  a  thing  he  had  long  been 
wanting  to  do,  yet  never  getting  the  time 
for  it,  and  that  was  to  view  the  screen 
performances  of  certain  of  his  colleagues, 
several  of  whom  happened  to  be  featured 
in  that  city.  Later,  he  had  strolled  into 
a  restaurant  in  keeping  with  his  shoddy 
appearance,  and  where  he  would  not  be 
conspicuous.  It  had  occurred  to  him  that 
in  accordance  with  his  present  role,  he 
ought  to  do  something  to  substantiate  it. 
What  better  then,  than  to  pretend  drunk- 
enness and  return  to  the  farm  and  watch 
Sadie's  reaction.  Derelicts,  he  bore  dn 
mind,  looked  upon  the  wine  when  it  was 
red,  and  he,  for  the  time  being,  was  a 
derelict.  Well,  if  he  had  looked  upon  no 
wine,  he  certainly  gave  every  indication  of 
having  done  so,  as  his  apparently  un- 
wieldy feet  approached  the  porch  steps. 
When  he  reached  them  he  sniffed  the  air 
ecstatically. 

"Y'use  nish  perfume!"  he  breathed  on 
a  long  intake. 

Sadie's  glance  was  deep  and  personal. 

"Well, — I'll  say  you've  gotta  bun!" 
she  said,  "Gee!  but  where'd  you  get  it?" 

Her  query  came  as  a  display  of  inter- 
est. He  appeared  overjoyed  at  it — elated. 
All  nature  seemed  to  protest  against 
keeping  to  himself  certain  glad  news. 

"Coupla  birds  I  met  treated  me !  Lish- 


en! — plach  up  overa  store!  S'plach 
they'll  remember  me!  Plach  I  c'n  get 
all  I  want!" 

Sadie  failed  to  answer.  Whatever  was 
going  on  in  the  apparatus  under  the 
frizzed  hair  was  for  the  moment  not 
apparent.  Her  main  ambition  seemed  to 
be  tc  get  her  companion  inside. 

It  was  at  this  point  in  both  their  car- 
eers that  Fate  decided  to  take  a  hand. 
It  does,  you  know,  when  you  try  fooling 
with  it.  Both  had  neared  the  porch,  in 
fact,  stood  at  the  first  step  leading  up  to 
it,  when  Hoffman,  with  an  exaggerated 
lurch,  lifted  one  foot  and  figured  short, 
with  the  result  that  he  struck  only  the 
edge,  and  in  slipping,  fell  down  full 
weight.  A  terrific  pain  darted  through 
his  knee, — then  his  whole  leg  bent  under 
him. 

No  histrionic  ability  was  required  to 
register  his  physical  pain  for  the  next 
few  minutes.  For  a  time  he  was  utterly 
dazed  by  it.  Moonlight  and  starlight 
mingled.  Objects  and  the  house  danced 
giddily.  Sadie  gasped  and  quickly  bent  to 
him. 

"Slip  me  an  arm,"  she  said,  trying  to 
help  him  rise,  "Holy  smoke;  but  I  bet 
that  hurt,  baby!" 

Hurt  it  did,  then  and  afterward.  With 
her  aid  he  managed  to  get  into  the  house. 
And,  once  inside,  by  leaning  on  furniture 
for  props,  he  dragged  himself  to  the  set- 
tee where  both  inspected  the  injury.  The 
flesh  was  broken  at  the  knee,  but  whether 
or  not  the  bone  was  injured  they  were  un- 
able to  determine. 

Looking  down  into  his  sane  eyes,  Sadie 
decided  it  was  the  fall  that  had  so  sud- 
denly sobered  him. 

"If  you  wanta  doctor,"  she  said,  "I'll 
walk  to  the  nearest  'phone  for  one." 

Her  offer  prompted  him  to  stare  in- 
credulously. 

"Thanks,"  he  said,  wondering  what  a 
doctor  would  think  of  her,  "we  better 
wait,  I  think, — but,  if  you'd  just  bring 
me  some  water — " 

Sadie  hurried  out  of  the  room.  A  few 
minutes  later  he  heard  her  moving  about 
the  stove.  Presently  there  was  the  homey 
scent  of  burning  wood. 

"Darned  if  I  don't  believe  she's  heat- 
ing some!"  he  said,  trying  through  his 
pain  to  analyze  her. 

Later,  she  entered  bending  to  a  weight. 

"Let's  bathe  it,"  she  said,  setting  down 
a  kettle.  "Wish  now,  I'd  taken  first  aid 
instead  of.     ...  " 

"You  wish  what?"  he  asked,  surprised 
out  of  his  agony. 

"Shut  up!"  she  said,  "What'd  you  have 
to  go  an'  fall  like  that  for!'  ' 

Shooting  pains  seized  him  and  for  a 
time  he  misled  her.  He  lay  back,  the 
while  she  ripped  his  trouser  leg  up  the 
seam,  and  bathed  and  bandaged  the  in- 
jured knee-cap.  Even  when  she  removed 
his  coat,  he  made  no  comment,  but  it 


was  when  she  insisted  on  washing  his 
dusty  face,  that  he  said  to  her  apprecia- 
tively : 

"As  a  nurse,  old  girl,  you're  not  so 
bad." 

Sadie's  look  was  a  little  fierce  one. 

"Take  it  from  me  if  you  hadn't  been 
soused,  you'd  certainly  've  broken  your 
leg,"  she  said,  bending  to  the  kettle  and 
lifting  it,  "then  we  would've  been  up 
against  it!" 

The  last  thing  that  night  he  remem- 
bered, was  the  sound  of  her  breath  ex- 
tinguishing the  oil  light.  After  that,  she 
passed  through  the  room  to  mount  the 
stair.  He  sensed  her  standing  there  in 
the  dimness — standing  as  though  she  were 
listening.  To  reassure  her,  he  began 
breathing  regularly. 

"Good-night,  Sadie,"  he  said,  some- 
what sleepily. 

"Night,"  s*he  said  from  a  long  way. 

For  awhile,  he  lay  there  with  the  pain 
easing  gradually— lay  while  the  house 
quieted. 

Presently  in  the  kitchen  a  mouse  began 
to  nibble. 

And,  presently,  Hoffman  slipped  off 
into  a  hectic  dream  of  himself  falling 
from  immense  heights,  with  Sadie  stand- 
ing ready  to  catch  him. 

Sadie!  ready  to  catch  him! 

There  we  r  e  two  things  that  Hoffman 
discovered  within  the  next  twenty-four 
hours.  One  was  that  Sadie  resented  any 
suggestions  one  might  offer  as  to  the  im- 
provement of  her  personal  appearance, 
and  the  other  was,  that  much  could  be 
said  regarding  the  method  of  her  cook- 
ing. 

"You  know,  kid,"  he  said  next  morn- 
ing after  he  had  awakened  to  an  absence 
of  pain,  though  the  knee  showed  signs  of 
discoloring,  and  she  had  helped  him  to 
breakfast  out  on  the  porch,  "you  really 
wouldn't  be  at  all  bad  looking  if  you 
didn't  frizz  your  hair  so  damnably,  and 
use  so  much  of  that  bright  rouge !  Then 
too,  if  you'd  leave  off  a  few  trimmings—" 

Sadie  bore  up  bravely. 

"Think  so?"  she  said,  glancing  at  him 
in  a  way  that  would  have  convinced  an 
onlooker  she  considered  him  tiresome, 
"well,  you  know  there's  a  lotta  guys  goin' 
round  offerin'  opinions  where  they're  not 
wanted.  Get  this!  My  face's  my  own, 
baby,  an',  as  it  happens,  this's  the  way 
it  suits  me!" 

As  for  her  cooking,  she  had  burnt  the 
toast  and  cooked  the  roast  in  a  way  he 
had  never  before  eaten  one. 

"You  ought  to  have  baked  this,  hadn't 
you,  instead  of  stewing  it?"  he  asked, 
looking  up  from  the  luncheon  table. 

Sadie's  eyes,  meeting  his,  fell  guiltily, 
—fell  before  his,  almost  shamefilled. 

"Darned  if  I  shouldn't  'av!"  she  said, 
tasting  the  unsavory  mess. 

To  Hoffman's  amazement  she  flushed. 
{Concluded  in  November) 


SCKEENLAND 


79 


Q  Nothing  Today— from  page  38. 

Save  the  dishes,  and.    .  ." 

Peggy  was  off  down  the  stairs.  She 
scuttled  past  Miss  Cousins'  door,  out  the 
front  entrance  and  was  off  up  the  street 
like  a  flash. 

J CM  Dion,  casting  director  of  the  Cri- 
merian  Films,  Incorporated,  was  half 
an  hour  late  when  he  stamped  into  his  of- 
fice in  a  growly  mood.  There  had  been 
the  customary  delay  on  the  Jersey  rail- 
road that  brought  him  from  his  suburban 
home  and,  in  his  opinion,  this  particular 
Tuesday  morning  was  the  worst  on  which 
such  a  thing  could  have  happened.  He 
grabbed  at  the  telephone  receiver,  star- 
ing belligerently  the  while  at  the  rim  of 
faces  visible  through  the  little  sliding 
window  that  opened  onto  the  corridor. 
He  jammed  the  receiver  back  and  glared 
angrily  about. 

"Where's  Altman?"  he  demanded. 
"Reported    sick.     Grip."     Joe  Bird, 
messenger  and  man  of  all  work  about 
the  studio,  answered  laconically. 

"My  God,"  groaned  Dion.  "What 
next?  We've  got  enough  work  for  a 
dozen  casting  directors  and  Altman  has 
to  be  sick.    Didn't  he  know  .  .  .  ? 

"Sure  did,"  interrupted  the  imperturb- 
able Joe,  "but  grip's  grip  ...  an'  some- 
times we  do  git  it." 

"Go  to  thunder,"  growled  Dion  and 
turned  to  the  doorman  who  had  just  ap- 
peared. The  newcomer,  Lucius  Corn- 
wall Jackson  by  name,  refused  to  be 
awed  by  the  casting  director.  He  re- 
mained unruffled  by  the  short,  snappy 
comment  that  was  hurled  at  him. 

It  is  said  of  Lucius  that  one  day,  as 
he  mounted  guard  over  the  portal  lead- 
ing to  the  casting  director's  office,  he 
found  himself  face  to  face  with  his  Sa- 
tanic majesty  in  the  person  of  one  of  the 
actors  in  a  fanciful  picture  in  course  of 
filming.  Some  of  the  women  in  the  cor- 
ridor fluttered  with  excitement.  Lucius 
touched  the  actor  on  the  -shoulder. 

"Young  man,"  he  said  calmly,  "go  back 
to  where  you  belong  an'  cease  frighten- 
ing the  ladies  from  without." 

Lucius  never  lost  his  dignity.  "There's 
a  gentleman  out  there,"  was  his  reply  to 
Dion's  short  comment.  "He  says  he's  a 
rough  rider." 

"Tell  him  to  go  west,  or  to  a  hotter 
place."  Dion  fairly  shouted  the  instruc- 
tions. 

"Yes,  sir."  Lucius  was  yet  calm  and 
even  more  dignified.  "And  the  Grand 
Army  man  is  likewise  without.  And  the 
sweet  little  lady  with  the  little  girl  in 
a  pink  gingham  dress.    I  .  .  ." 

Dion  exploded. 

"Get  out!  Damn  it,  get  out!  Tell 
'em  to  come  tomorrow.  I  haven't  got 
time  to  attend  to  any  extras  today." 


"Tomorrow,  sir?"  Lucius  was  apolo- 
getic. 

"Yes,  damn  it.  Can't  ycu  hear?  To- 
morrow. Tomorrow!  Let  Altman  and 
his  grip  handle  them." 

"Yes,  sir."  Lucius  retired  to  the 
outer  doorway.  There  he  paused,  placed 
one  hand  inside  of  his  tightly  buttoned 
coat  and  dramatically  announced: 

"Ladies  and  gents,  I  am  sorry,  but 
there  ain't  nuthin'  for  nobody  today. 
You  will  .  .  ."  He  stopped.  Then, 
with  alacrity,  "Right  this  way,  Mr.  Bly- 
stone. Yes,  sir.  How  is  your  cold, 
sir?" 

"I'm  all  to  the  mustard,  Lucius,"  re- 
plied Ned,  smiling.  The  odor  of  musterole, 
placed  on  his  chest  by  a  doting  mother 
the  night  before,  still  wafted  to  his  nos- 
trils.   "You're  looking  fit  as  usual." 

"Yes,  sir,"  and  Lucius  bent  in  dignified 
acknowledgment  of  the  comely  young 
actor  who  held  the  friendship  and  ad- 
miration of  every  member  of  the  Crime- 
rian  staff. 

Ned  Blystone  was  one  of  those  rarities 
that  seldom  come  in  the  course  of  a  day's 
work  in  the  picture  industry;  a  hand- 
some man,  with  every  physical  attribute, 
who  had  learned  to  maintain  a  mental 
balance.  Tall,  well  set  up,  his  clothes 
the  last  word  in  perfection,  he  moved 
with  the  easy  grace  of  an  athlete  in  ab- 
solute trim.  He  had  as  much  personality 
off  the  screen  as  on  and  possessed  the 
invaluable  art  of  seeming  to  be  one  of  the 
crowd  without  ever  losing  the  restraint 
that  necessarily  must  be  part  of  the 
stock  in  trade  of  a  successful  actor.  There 
was  laughter  in  the  depth  of  his  eyes,  his 
forehead  was  good,  his  hair  didn't  mar- 
cel and  he  had  a  mouth  and  chin  that 
bespoke  determination.  First,  last  and 
always,  Blystone  was  a  real,  red-blooded, 
likeable  man. 

He  slid  out  of  the  spring  topcoat  that 
Lucius  anxiously  waited  to  take. 

"Has  Miss  Thomas  arrived  yet?" 


Conway  Tearle,  next  to  he 
seen  in  "The  Great  Divide." 


"Yes,  sir.  Miss  Thomas  was  early  this 
morning,"  replied  Lucius  eagerly.  Then 
confidentially,  "I  don't  think  she's  feel- 
ing quite  herself,  sir.  Seemed  a  little 
put  out.  Her  chauffeur  said  she  had  a 
long-run  grouch.  But,  of  course,  that's 
only  a  chauffeur's  opinion,  sir." 

"We  had  a  long  day  yesterday,"  said 
Blystone  thoughtfully.  "This  game  isn't 
as  easy  on  a  woman  as  some  people 
think,  Lucius." 

"Right,  sir."  Lucius'  manner  clearly 
showed  that  he  understood  what  his  fav- 
orite was  getting  at. 

"If  any  one  else  asks  about  Miss 
Thomas,"  added  the  young  actor,  with  a 
friendly  smile,  "I'd  say  that  she  was  in 
the  best  of  spirits,  if  I  were  you,  Lucius. 
Women  are  bound  to  have  their  moods 
and  what  the  world  doesn't  know  it 
doesn't  have  to  worry  about." 

And  with  that  Ned  Blystone,  film  fav- 
orite and  human  being,  passed  into  the 
sacred  precincts  where  Gloria  Thomas, 
decidedly  out  of  sorts,  was  haranguing  her 
maid  because  one  of  the  lights  in  her 
dressing  room  had  spluttered  a  moment 
before,  and  gone  out.  This  particular 
morning  the  world  was  wrong  in  the 
eyes  of  Miss  Thomas,  and  everyone  but 
herself  was  to  blame  for  the  fact. 

PEGGY,  her  cheeks  scarlet  from  run- 
ning, her  breath  coming  in  quick  lit- 
tle gasps,  dashed  up  to  the  studio  en- 
trance. Then,  with  the  uncanny  wis- 
dom of  her  sex,  she  paused,  snapped  open 
her  vanity  case,  observed  her  face  in 
the  tiny  mirror  and  deftly  dabbed  away 
all  outward  signs  of  haste.  Experience 
had  taught  Peggy  that  looking  like  a 
cool,  enticing  sweet  pea  was  an  asset 
in  a  picture  studio,  or  anywhere  else  for 
that  matter. 

She  waved  a  friendly  hand  at  the  crowd. 
It  was  the  same  sort  of  a  gathering,  even 
at  this  early  hour,  that  could  be  found 
at  almost  any  New  York  motion  picture 
studio.  Tall  girls,  short  girls;  blondes, 
brunettes;  sleepy  girls  and  wide-awake 
little  persons  who  might  have  made  a 
trip  from  Brooklyn  instead  of  the  forties, 
but  showed  no  signs  of  the  fact.  Peggy- 
knew  most  of  them.  She  had  waited 
with  them.  She  had  swapped  bits  of 
business  gossip.  She  liked  most  of  them 
and,  curious  as  it  may  sound,  almost  with- 
out exception  they  adored  her. 

On  this  particular  morning  the  gather- 
ing of  hopeful  extras  was  even  larger 
than  usual.  Word  had  gone  forth,  by 
the  underground  route,  that  Crimerian 
was  going  to  use  a  lot  of  extras.  How 
they  learned  this,  some  of  them,  was  a 
mystery.  No  call  had  been  sent  to  the 
agents.  «  But  by  that  endless  chain  of 
comment,  tossed  back  and  forth  in  the 
little  eating  places  that  these  girls  haunt- 


80 


SCM2EN1LANB 


ed  or  picked  up  on  Broadway  and  its  side 
streets,  the  word  had  gone  forth  and  the 
hordes  had  gathered.  Swift  and  myste- 
rious as  the  passage  of  news  is  among  the 
ranks  of  an  army,  it  is  no  more  remark- 
able than  the  transmission  of  the  report 
of  "extra  wanted"  among  the  horde  of 
women  who  have  hearkened  to  the  call 
Oi  the  movies  and  remained  because  they 
cannot  get  away  from  it. 

A  girl  touched  Peggy's  arm  as  she  was 
about  to  proceed.  She  was  a  curious- 
looking  little  creature — with  a  wistful  ex- 
pression in  a  pair  of  tragically  hungry 
eyes.  She  was  dressed  in  a  sadly  worn 
suit  that  screamed  Fall  and  last  season. 
Peggy  looked  at  her  kindly.  How,  she 
wondered,  had  this  timid  little  bit  of  hu- 
manity plucked  up  the  necessary  cour- 
age to  align  herself  with  the  other  rough 
and-ready  extras. 

'I'm  looking  fer  work,"  the  girl  spoke 
in  a  low,  frightened  tone.  "I've  got  to 
get  it.  You  seem  to  know  everyone  and 
everybody  seems  to  know  you;  I'm  sure 
you're  somebody  .  .  ." 

"You  win,"  interrupted  Peggy  with  a 
radiant  smile.  "But  I  haven't  found  out 
just  who  I  am  as  yet."  The  wistful  ex- 
pression on  the  other  girl's  face  became 
almost  tragic.  Peggy  quickly  added. 
"But  I  know  what  you're  up  against— 
in  a  general  way,  I  mean.  I'm  still 
working  a  liberal  visiting  list  myself." 

She  paused  for  a  moment  and  looked 
at  the  girl  with  a  kindly  smile.  The 
stranger  seemed  to  shrink  away  into  her- 
self, more  commonplace,  less  likely  to 
win  the  eye  of  a  casting  director  than 
ever. 

"You're  new,  aren't  you — at  this  game, 
I  mean?" 

The  girl  nodded.  It  was  a  discouraged, 
barely  perceptible  movement  of  the  head. 

"Poor  kid."  The  sympathy  in  Peggy's 
voice  was  genuine.  "I'm  going  to  be 
honest  with  you.  That's  more  than  most 
every  one  will  be  in  this  lovely  city  of 
ours  and  you  may  not  like  it.  Dig  up  a 
job  in  a  store  and  save  until  you've  got 
the  price  of  a  ticket  back  home.  Then 
buy  the  ticket,  climb  into  the  train  and 
thank  God  you're  headed  in  the  right 
direction." 

"You  didn't  do  that,  did  you?" 

Peggy  grinned. 

"No  one  tipped  me  off  in  time,"  she 
replied,  "and  now  the  bug's  got  me 
and  " 

Half  a  dozen  eager  extra  girls  swept 
up  to  Peggy,  pushed  her  towards  a  cor- 
ner, plying  her  with  questions  while  she 
stuffed  her  fingers  in  her  ears.  When  she 
turned  to  complete  her  sentence  the 
stranger  was  lost  in  the  crowd. 

"Well,"  said  Peggy  to  herself,  "she 
may  follow-my  advice  but  she  movst  likely 
won't.  I'll  keep  my  eyes  open  for  her 
later.  But  what  the  director  would  do 
to  her!" 


She  finally  made  her  way  to  Lucius, 
who  smiled  a  welcome  as  he  saw  her. 
She  flung  a  cheery  greeting  at  him  and 
he  retorted  in  kind.  Peggy  was  one  of  the 
extras  for  whom  Lucius  had  a  fatherly 
interest.  He  couldn't  have  explained 
why.  He  saw  enough  who  were  just  as 
pretty,  goodness  knows.  But  there  was 
something  about  her  piquant  face;  her 
cheerful  smile — -oh,  she  was  different  and 
he  liked  her  and  that  was  enough  lor 
Lucius  and  quite  sufficient  for  Peggy, 
who  had  learned  the  value  of  a  friend  in 
court,  even  if  he  is  on  the  outer  fringe, 
as  it  were. 

She  was  in  the  midst  of  a  stroke  of 
skilful  flattery  when  Altman,  the  assist- 
ant casting  director,  appeared.  He  was 
not  happy.  His  conscience  and  a  gener- 
ous supply  of  physic  had  finally  landed 
him  at  the  studio.  Dion  had  jumped  him 
the  moment  he  arrived;  jumped  him  sav- 
agely and  then  disappeared.  So  Altman, 
boiling  and  half  sick,  turned  his  wrath 
towards  the  extras  awaiting  him.  Word 
went  forth  that  Altman  was  on  a  ram- 
page. The  girls  who  faced  him,  accord- 
ing to  their  wisdom  or  lack  of  knowledge, 
were  snapped  at,  bawled  out,  summarily 
dismissed  or  chosen. 

Altman  worked  with  a  haste  born  of 
and  nourished  by  anger.  He  growled  his 
words  in  a  gruff,  husky  voice,  orders 
tempered  with  occasional  adjectives  that 
were  more  expressive  than  elegant. 

"We  ain't  gonna  have  a  mob  scene 
today,"  he  roared  at  the  girls,  who  were 
pushing  and  struggling  to  get  nearer  the 
center  of  activities  before  their  more 
fortunate  sisters  filled  all  the  work  for 
the  day.  "Do  you  think  I  got  out  of  a 
sick  bed  to  be  trampled  by  a  lot  of  wild 
women?" 

"I'm  sure  it  ought  to  be  a  pleasure, 
Mr.  Altman."  The  assistant  casting  di- 
rector looked  wildly  about,  murder  in  his 


Wallace  Beery  and  his  ne<w 
bride,  formerly  Arita  Gill- 
man. 


eyes,  to  find  the  owner  of  the  soft,  vel- 
vety voice.  They  lighted  on  Peggy  smil- 
ing her  prettiest  smile  up  at  him. 

"Is  that  so?"  There  was  nothing  vel- 
vety about  Altman's  tone.  "Did  you 
ccme  here  to  work  or  to  tell  me  funny 
jokes?" 

Peggy  laughed  softly.  "You're  too  het 
up  to  understand  a  good  one."  Altman 
gasped. 

He  couldn't  think  of  a  retort.  He 
mopped  his  brow. 

Peggy  continued.  "You'll  wear  out 
your  inner  tubes,  or  whatever  it  is  that 
is  clogged  up,  if  you  keep  on  straining 
yourself."  She  gave  a  little  tilt  to  her 
head  and  dropped  her  voice  to  a  con- 
fidential  tone.  "I  know  what  I'm  saying 
because  Mrs.  Dubois  "  She  neglect- 
ed to  mention  that  the  lady  in  question 
was  a  feline.  "Mrs.  Dubois  had  the  same 
inclinations  and  Lois  and  I  barely  saved 
her." 

The  black  look  faded  from  Altman's 
face  and  he  grinned,  a  big,  wholesome 
grin  that  made  one  like  him.  This  was 
the  first  human  contact  he  had  expe- 
rienced that  morning.  He  fully  realized 
that  the  girls  about  him  were  grinning, 
too,  but  somehow  that  didn't  matter. 

"You're  all  right."  he  said  in  a  more 
subdued  tone.  "And  I'll  tike  your  tip. 
Now  beat  it  before  yo  t're  late  and  they 
keep  you  off  the  set."  As  an  p'terthought. 
hurled  over  his  shoulder  as  Peggy  battled 
her  way  out  of  the  corridor,  "Hit  the 
high  spots  because  you're  slated  for  that 
sea  story  with  Blystone  and  Miss  Thomas, 
and  I  want  'em  to  think  you're  the  goods." 

Peggy's  heart  missed  a  beat.  The 
closed  door  shut  off  the  struggling  mob  of 
extras.  She  stood  stock  still.  Altman 
hadn't  forgotten  her.  She  was  really 
slated  to  do  a  bit  in  the  next  picture  and 
a  good  part  of  it  would  be  on  location. 
That  meant  days  of  working  and  nights 
of  living  in  the  same  locality  as  Ned 
Blystone.  Her  heart  indulged  in  a  few 
more  gymnastics.  Then  she  remembered 
Altman's  warning.  She  was  to  do  her 
best.  Peggy  took  a  deep  breath,  squared 
her  shoulders  and,  gripping  her  make-up 
box  tightly,  hurried  forward  to  get  ready 
for  the  shooting. 

"OEGGY,  in  fancy,  saw  herself  rushed 
upward.  First  a  real '  part.  Then 
the  lead  and  finally  the  featured  star. 
Pier  companion  at  the  make-up  shelf  said 
something  about  a  man  whom  she  had 
dined  with  the  night  before,  something 
about  a  bead  bag  and  a  promise  of  a  fall 
coat  if  things  went  right.  Peggy's  re- 
sponse had  something  to  do  with  starring 
and  Blystone  and  .  .  .  She  suddenly 
caught  herself,  awakened  from  her 
dreams,  and  gave  a  quick,  final  glance  into 
her  make-up  mirror.  Then  she  fled  be- 
fore the  dazed  friend  of  the  gentleman 
of  beaded  bags  and  fall  coats  could  col- 


^GREENLAND 
-ija  ■ — 


81 


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lect  her  wits  and  offer  a  suitably  stinging 
retort. 

"You'll  have  to  watch  your  step," 
Peggy  cautioned  herself  mentally,  as  she 
hurried  out.  "One  more  slip  like  that  and 
seme  one  will  be  wishing  you  to  the 
funny  house.  You're  a  long,  long  way 
from  being  a  star,  and  Ned  Blystone 
probably  doesn't  know  that  you  are  alive, 
and  if  he  does  ..." 

Peggy's  mental  commentary  ceased 
abruptly.  Her  eyes  rested  on  Ned  Bly- 
stone himself.  He  was  made  up  ready 
for  work.  Peggy  had  never  seen  him 
look  handsomer.  But  that  was  not  what 
had  stopped  her  unspoken  warning.  Bly- 
stone was  bending  over  Gloria  Thomas. 
He  said  something  and  then  laughed 
softly.  Gloria,  without  an  effort  to  dis- 
guise the  move,  held  up  a  coy.  warning 
finger. 

"I  think  you're  all  wrong,  Ned."  Her 
voice  had  a  singular  carrying  power  that 
she  did  not  attempt  to  diminish.  It 
would  probably  be  safe  to  wager  that  she 
rather  enjoyed  the  glances  thrown  in 
their  direction.  She  continued:  "But 
I'm  not  going  to  object  if  you  want  it 
to  be  so." 

Ned  smiled  his  appreciation. 

"You  must  promise  me  one  thing,  you 
eld  dear."  Gloria  still  spoke  in  the  same 
unguarded  tone.  "It  must  remain  our 
secret  until  I  say  the  word.  You  will 
promise  that,  won't  you,  Ned?" 

Peggy's  balloon  burst!  She  was  a 
woman  and  she  knew  what  it  meant  when 
a  woman  said  that  sort  of  a  thing,  in 
that  particular  tone,  to  a  man  of  whom 
it  was  common  knowledge  she  approved. 
It  wasn't  back-stage  chatter  and  it  wasn't 
acting.  Her  thoughts  had  covered  but  a 
small  part  of  the  actual  relationship  be- 
tween the  man  who,  she  admitted  to  her- 
self, she  adored,  and  the  woman,  whom 
she  knew  wasn't  half  good  enough  for 
him. 

She  was  still  in  a  rather  enjoyable  haze 
of  suffering  when  Ned,  bent  on  filling 
some  trivial  request  that  Gloria  had  made, 
stopped  and  spoke  to  her. 

"You've  got  a  bully  make-up,  little 
girl,"  he  said  quietly. 

"Does  she?"  replied  Peggy  somewhat 
vaguely. 

Ned  looked  at  her,  puzzled  for  a  mo- 
ment, then  smiled  and  went  on  his  way. 
A  second  later,  Peggy  awakened  to  he- 
lost  opportunity  but  it  was  too  late  ther. 
She  always  was  too  late  where  Ned  was 
concerned.  Moreover,  she  missed  the 
angry  glitter  in  the  eyes  of  Gloria  Thomas, 
who  had  noticed  the  incident  and  made 
up  her  mind  that  Peggy  was  too  attrac- 
tive to  have  about  the  studio  even  if  she 
was  a  stupid  little  extra  girl.  The  look 
would  have  been  balm  to  Peggy,  but  her 
eyes  were  on  the  retreating  figure  of 
Blystone  and  her  mind  was  focused  on 
the  inane  question — "Does  she?' 


#<w#/  Many  Inches  Do  You 
Want  to  Lose  Next  Week 


83 


from  Waist  and  Hips  ? 


How  would  you  like  to  be  two  to  three  inches  thinner  ^  waist, 
hint  Tnd  thighs  one  week  from  today?  The  Madame  X  self- 
mL^fng  gfrdle  actually  takes  off  %  to  10  ™£s 
vou  /oofc  thinner  the  moment  you  put  it  on.  ^0  starving 
diets-No  tiring  exercises-No  dangerous  medicines-No  weak- 
ening baths.    Removes  fat  while  you  walk,  play,  work  or  s.t. 


HERE  is  the  scientific  Madame  X  Girdle  _  that 
slenderizes  your  figure  the  moment  you  put  it  on 
That  instantly  gives  you  fashion's  trim,  graceful 
lines,  and  actually  reduces  your  waist  and  hips  almost 
"while  you  wait !"  Makes  youZco/ethin  whileflrcffi/iflrthin. 
For  the  Madame  X,  which  is  worn  over  the  under- 
garment as  a  corset,  fits 
you  as  smoothly  and  snug- 
ly as  a  kid  glove,  and  is 
so  constructed  that  it  fits 
right  into  the  figure  and 
touches  and  gently  mas- 
sages every  inch  of  the 
surface  continually .-  See 
how  it  holds  in  the  hips 
and  thighs  as  well  as  the 
abdomen.    How  it  comes 
well  up  over  the  diaphragm 
and  supports  the  muscles  of 
the  back  and  sides,  helping 
prevent  fatigue.  The  front 
cut-out    insures  perfect 
comfort  while  you  sit,  work 
or  play.    And  the  special 
lacing  in  the  back  makes  it 
easy  to  adjust  as  you  be- 
come more  slender.  The 
garters  hold  the  Madame 
X  firmly  in  place,  so  that 
while  you  may  enjoy  a 
maximum  freedom  of  mo- 
tion, your  entire  figure  is 
held    in    firmly    and  the 
body    is   kept   erect  and 
well-poised. 

Actually  Massages 
Away  Fat 

Madame  X  Reducing 
Girdle  is  built  on  scientific 
massage  principles  that 
have  caused  reductions  of 
5,  10,  20  pounds  in  an 
amazingly  short  time.  It 
is  made  of  dry  heat  cured, 


What  They  Say 

These  excerpts  are 
from  just  a  few  of  the 
thousands  of  letters  we 
have  received  from  de- 
lighted users.  The  orig- 
inal letters  in  our  files 
may  be  seen  at  any 
time  by  anyone  inter- 
ested. 

"I    think    the  reducing 
girdle  is  fine,    I  reduced  7 
inches  in  hips  and  thighs 
and  5  inches  in  the  waist. 
(Miss1)  Ella  Corby, 
425  North  Main  St., 
Norwich,Conn. 

"I     have     reduced  my 
waist  to  29  inches  from  36. 
I  wear  the   girdle  all  day 
and  wouldn't  he  without  it.' 
Mrs.  E.  G.  Dahueka, 
3140  California  St., 
Berkeley,  Calif. 

"The  Madame  X  is  too 
wonderful    for    words.  _  I 
was  51  around  my  waist — ■ 
now   I    am   39.     My  hips 
were   66   hefore   using  the 
girdle  and  are  now  49." 
Mrs.  Vida  Sheidler, 
146  West  Simonton  St., 
Elkhart,  Ind. 

"Have  been  wearing  the 
Madame  X  Girdle  for  three 
weeks.  Have  taken  5  inches 
from  my  waist  and  4J4 
inches  from  hips.  No  more 
corsets  for  me." 

I  Miss)  Belle  Folsom, 
517  Main  St., 
Watsonville,  Calif. 


resilient,  "live"  rubber,  especially 
designed  for  reducing  purposes 
and  strong  enough  to  really  hold 
you  in.  The  rubber  is  the  same 
kind  that  is  recommended  by  fa- 
mous athletic  coaches  and  Health 
authorities  as  -a-safe  and  healthy 
way  to  reduce. 

The  Madame  X  is  worn  over 
the  undergarment  so  that  no  rub- 
ber touches  you.    Yet,  with  every, 
breath,    with    every    step,  with 
every   little   motion    it  actually 
massages  away   the  fat! 
through  your  undergar- 
ment the  live  rubber  gently 
grips  and  kneads  the  excess 
fat  so  it  is  actually  eased 
away.  Only  live  rubber  can 
produce  this  marvelous 
"unconscious  massage." 

Try  It  On  Today 

Once  you  try  on  the  Madame  X 
you  won't  want  to  take  it  off.  See 
how  it  makes  you  look  more  slender  at 
once.  Enjoy  the  comfort  of  it  the 
sense  of  ease  and  poise  it  gives  you. 
Why  not  go  to  the  nearest  dealer  and 
see  this  remarkable  girdle  for  your- 
self ?  Try  it  on  and  see  how 
you  like  it — no  obligation. 

Also  be  sure  to  see  the 
Madame  X  Brassiere, 
which  does  for  the  upper 
figure  what  the  Girdle 
does  for  waist,  hips  and 
thighs. 

Write  for  Free  Booklet, 
"The  New  Healthful  Way 
to  Reduce,"  which  ex- 
plains in  detail  how  the 
Madame  X  makes  you 
look  thin  while  getting 
thin.  Address  Dept.  G-3610, 

MADAME  X  COMPANY,  Inc. 

410  Fourth  Avenue,  New  York  City 


New  Hand-Turned  Her, 
Splitting  or  Tcarit 


On  Sale  At  All  Leading  Stores  Where  Corsets  Are  Sold 

QJlmlameY Reducing  Girdle 

Makes  You  Look  Thin  J\-  While  Getting  Thin 


WESTERN  DISTRIBUTORS'-  \j  ^jlAN  £r  SONS  InC' 


CHICAGO*  — CANADIAN-DISTRIBUTORS'  DOMINION  CORSET  COMPANY  LTD-  f"  >pac/~ 


^GREENLAND 


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The  SULTAN   .   .  $25 


to  $100  according  lo  length 

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When  Ned  returned,  a  moment  later, 
carrying  a  light  wrap  on  his  arm,  he 
didn't  stop.  If  Peggy  was  on  his  mind 
he  didn't  indicate  the  fact  to  her.  But 
as  he  bent  forward  and  threw  the  fluffy 
thing ,  about  Gloria's  shoulders,  he  did 
say: 

"Mighty  interesting  personality  that 
little  extra  girl  I  spoke  to.  She  will  make 
good  some  day.  Her  name's  Peggy." 
This  last  irrelevantly. 

And  Gloria  possessing  the  wisdom  of 
the  serpent  and  not  desiring  to  take  need- 
less chances,  smiled  sweetly.  She  was 
thinking,  however.  He  learned  her  name 
damn  quick. 

Then  the  director  called  and  work  be- 
gan. Peggy  realized  that  she  lacked 
something.  She  knew,  small  as  her  part 
in  the  picture  was,  so  minute  as  to  be 
laughable,  she  wasn't  giving  what  she  had 
and  what  belonged  to  it.  Once,  as  she 
glanced  out  of  the  tail  of  her  eye  to- 
wards the  director,  during  a  moment's 
let-up  under  the  lights,  she  thought  Bly- 
stone,  in  earnest  conversation  with  Jor- 
dan, actually  pointed  'towards  her  and 
offered  some  comment.  Her  heart  sank. 
Then  she  realized  that  he  was  probably 
commenting  on  the  scenery  and  called 
herself  several  kinds  of  a  fool. 

She  sat  off  in  a  corner  by  herself 
when  some  scenes,  in  which  her  services 
were  not  required,  were  being  rehearsed. 
She  wasn't  in  the  mood  to  join  the  other 
extras  who  tried  to  drag  her  away  with 
them.  Offering  the  lame  excuse  that  she 
wanted  to  watch  the  direction,  she  cud- 
dled up  with  her  disgust  and  waited  for 
her  call.  She  was  positive  of  one  thing. 
She  had  missed  a  bet. 

"Peggy  Dixon,  you're  a  first-class, 
double-A  jackass,  and  you  haven't  the 
spunk  to  deny  the  fact."  She  uncon- 
sciously voiced  her  thoughts. 

"If  you  really  believe  that  there's  lots 
of  hope  for  you."  Peggy  looked  quickly 
up  and  saw  Eddystone  Browning  smiling 
down  at  her.  He  continued:  "The  trou- 
ble with  most  of  us  is  that  we  won't  ad- 
mit we're  not  heading  south  when  we 
know  we're  going  north  and  we  end  up 
in  a  crash." 

"I'm  darned  if  I  don't  think  you're 
right,"  Peggy's  sense  of  humor  had  come 
to  her  rescue  again. 

Browning  sat  down  beside  her.  He 
was  a  student  of  human  nature,  as  well 
as.  the  Crimerian's  scenario  editor,  and 
he  liked  to  stroll  through  the  studio,  at 
odd  moments,  and  watch  the  performers. 
It  furnished  food  for  reflection,  tickled 
funny  bone  and  furnished  fresh  notes  for 
the  commentary  on  picture  life  that  he 
was  always  "going  to  start  on  tomorrow." 
He  never  seemed  to  find  the  time  to  get 
at  it,  though,  because  of  the  demands 
made  on  him  by  the  host  who  knew  and 
appreciated  his  keen  wit  and  sound  phil- 
osophy. /S 


SCMEENLANB 


85 


y  After  moistening  hair  with 
/  Spanish  Curling  liquid,  fur- 
nished  free  with  every  Curl- 
ing Cap,  place  cap  over  head 
and  pull  the  hair  forward 
through  the  rubberized  cross 
pieces  with  the  fingers. 


Marvelous  New  Curl- 
irig  Gap  Marcelle 
Waves  Any  Hair 

Startling  new  invention  makes 
marcelling  quick  and  easy 


HERE'S  the  greatest  beauty- 
news  you've  had  in  many  a 
day!  It  makes  no  difference 
whether  you  wear  your  hair  bobbed  or 
long — whether  it's  thick  and  fluffy  or 
thin  and  scraggly — for  this  great 
beauty  invention  insures  a  mass  of 
lovely  ringlets,  waves  and  curls  all  the 
time  at  practically  no  expense  to  you 
and  with  only  a  few  minutes'  time 
every  few  days. 

Like  all  great  inventions,  Mc- 
Gowan's  Curling  Cap  is  very  simple. 
There  is  no  complicated  apparatus. 
Nothing  to  catch  in  your  hair  or  get 
out  of  order.  It  is  a  simple  device 
that  applies  the  principles  of  the 
curling  iron,  using  a  specially  pre- 
pared, safe  and  harmless  curling  fluid 
— Spanish  Curling  Liquid — in  the 
place  of  water  and  heat. 

You  can  see  at  a  glance  how  the 
Curling  Cap  works.  Elastic  head 
bands  hold  the  six  rubberized  cross 
pieces  in  place.  The  hair  is  held  in 
"waves"  by  the  cross  pieces  until  it 
dries,  when  the  Curling  Cap  is  re- 
moved, and  you  have  a  beautiful 
Marcelle  that  would  cost  a  dollar  or 
more  at  a  Beauty  Shop  and  take  about 
an  hour's  time. 

A  timely  aid  to  beauty 
There  never  was  a  more  timely  in- 
vention  than   this,    when   nearly  all 
girls  and  young  women  ar.e  wearing 
bobbed  hair — and    won>^*ing  how 


they  will  keep  it  curled  through  the 
summer.  Tennis,  golf,  boating, 
swimming  and  other  summer  sports 
always  have  played  havoc  with  Mar- 
celles  and  make  it  nearly  impossible 
for  the  average  outdoor  girl  to  keep 
her  bob  looking  as  smart  as  it  should. 
But  now  she  can  laugh  at  her  former 
worries,  for  with  McGowan's  Curling 
Cap  and  a  bottle  of  Spanish  Curling 
Liquid  she  can  have  a  fresh  Marcelle 
every  day  in  less  time  than  it  took  to 
comb  her  hair  when  it  was  long. 

Curly  hair's  the  thing  now 

No  matter  what  style  of  bob  you  favor, 
or  even  if  you  wear  your  hair  long,  you've 
got  to  keep  it  curly  and  wavy  if  you  want 
to  be  in  style.  There  never  was  a  style 
more  "  universally  becoming  and  there 
never  was  one  more  rigidly  demanded  by 
the  arbiters  of  fashion. 

It  makes  no  difference,  either,  whether 
you  prefer  the  waves  running  across  your 
hair  or  from  front  to  back.  The  Curling 
Cap  is  adjustable  either  way.  When  not 
in  use  the  Cap  may  be  folded  and  carried 
in  your  handbag. 

Read  this  amazing  offer 

If  you  are  familiar  with  the  price  of 
other  curling  devices — none  of  which  is  to 
be  compared  with  the  Curling  Cap — you 
would  expect  this  one  to  cost  at  least  $10 
or  $15.  In  fact,  when  Mr.  McGowan  first 
showed  his  invention  to  his  friends  many 
of  them  advised  him  to  sell  it  for  that 
price  because  it  is  easily  worth  it.  But 
Mr.  McGowan  wants  every  girl  and  wo- 
man to  get  the  benefit  of  his  great  inven- 
tion, so  he  decided  to  put  the  price  within 
reach  of  all.     By  selling  in  tremendous 


The  hair  is  held  in 
"waves"  by  the  crbss 
pieces  and  allowed  to  dry 
in  this  position.  Mean- 
while you  can  read  or 
finish  dressing. 


After  15  minutes  the 
is  dry,  the  cap  is  remi 
and  your  mirror  ref 
as  beautiful  a  Marcell 
you  ever  had  in  your 

quantities  it  will  be  possible  for  nil 
make    a    price    of   $2.87   for  the  e 
outfit,  which  includes  a  large  sized  1 
of  Spanish  Curling  Liquid  as  well  a 
newly    invented    Curling    Cap.  As 
same  bottle  of  Spanish  Curling  Liqui 
always  sold  for  $1.87,  you  can  set 
you  are  really  getting  the  Curling  caj- 
for   the   ridiculous   price   of   one  dollar, 
which  is  just  about  what  it  cost  to  make. 

Send  no  money — just  mail  the  cu2,->- 

You  don't  even  have  to  pay  for  t 
wonderful  curling  outfit  in  advance.  Ju 
sign  the  coupon  and  in  a  few  davs  tl 
postman  will  deliver  the  Curling  Cap  at 
Spanish  Curling  Liquid  to  you.  Simp 
pay  him  $2.87,   plus  postage — and  th 
your  Marcelle  worries  will  be  at  an  ei 
If  you  don't  find  it  the  greatest  beat 
aid  you  ever  used^-if  it  doesn't  bring  y 
the  most  beautiful  of  Marcelles  just  as  * 
promised — if  you  are  not  satisfied  wi 
McGowan's    Curling    Cap    and  Spani 
Curling  Liquid  in  every  way,  just  retu 
the  outfit  and  your  money  will  be  i 
funded. 

f»uu...w,GO  UPON  ■»■«■»■ 

"  THE   McGOWAX  LABORATORIES 

"10  W  Jackson  Blvd.,  Dept  606,  Chicago 

Dear  Mr  McGowan:  Please  send  me  your 
hair  curling  outfit,  which  includes  vour 
newly  invented  Curling  Cap  and  a  bottle 
of  Spanish  Curling-Liquid.  I  agree  to 
deposit  $2.87  (plus  postage)  with  the  post- 
man upon  its  delivery  If  I  am  not  satis- 
fied with  results  in  every  way  I  will  re 
turn  the  outfit  to  you  and  you  are  to  refur.u 
my  money. 


Na 


Address   

Note:  If  you  expect  to  be  out  when  the 
postman  calls,  enclose  S3  with  your  order 
and  the  McGowan  Curling  Outfit  will  be 
sent  postpaid. 


86 


SCIREENiLAND 


Classic  Development 
of  the  Bust 

YOUR  WOMANLY  BEAUTY  can  be  developed.  The  secret  of  woman's 
charm  is  a  beautiful,  fully  develuped  figure— a  bust  like  sculptors  carve  in 
marble  and  artists  portray  on  canvas.  The  very  femininity  of  woman  demands 
that  she  be  thus  perfectly  developed. 

BEAUTY  OF  FORM  is  woman's  natural  birthright.  It  is  just  as  whole- 
some and  right  that  a  woman  should  be  physically  charming  and  attractive, 
as  it  is  for  flowers  to  bloom  in  springtime  and  cast  a  sweet  fragrance  by 
their  presence.  Physical  beauty  can  be  cultivated,  for  the  body — plastic,  like 
(.]ay — Wiij  respond  to  the  application  of  nature's  laws  to  a  degree  little 
dreamed  of  by  the  average  person.  There  is  always  a  way  to  accomplish 
the  things  that  are  wholesome  and  right,  and  since  it  is  perfectly  natural 
for  every  woman  to  have  a  full,  rounded  bust,  it  is  easy  to  produce  such 
levelopment  with  the  right  method. 

Motion  Picture  Actress  Delighted 

1  Betty  McCoy,  Movie  Actress,  Los  Angeles,  whose  photo  is  shown 
at  the  left,  says:  "I  am  delighted  with  the  results  from  the  use 
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This  wasn't  the  first  time  that  Brown- 
ing had  singled  Peggy  out  from  the  mob. 
Weeks  before,  he  had  sensed  something 
out  of  the  ordinary  about  the  extra  girl. 
Then  he  had  awakened  to  the  realization 
that,  in  common  with  so  many  of  her 
fellows,  a  man  was  the  chief  attraction  at 
this  particular  studio.  Failing  to  find  the 
usual  blatant  mediocrity  in  her  attitude, 
he  continued  to  watch  her  when  occasion 
brought  them  under  the  same  roof.  And 
now  the  opportunity  to  talk  with  her 
presented  itself  and,  with  customary 
Browning  directness,  he  followed  the  im- 
pulse. 

"Blystone's  giving  a  good  performance 
in  this  picture,"  he  continued  in  an  in- 
different tone.  "He's  at  his  best." 

"He's  the  cleverest  man  I  know." 
Peggy  bit  her  lip  with  vexation.  She 
glanced  out  of  the  corner  of  her  eye  to 
see  if  the  man  beside  her  was  smiling. 
He  wasn't.  So  she  went  on,  with  less 
positiveness,  "I  have  heard  that  he  gets 
to  'the  heart  of  a  part  faster  than  any 
man  on  the  screen." 

"Yes,  that's  true."  Browning's  eyes 
were  fixed  on  the  set  where  Ned  had  be- 
gun to  work  on  a  scene  with  Gloria,  who 
seemed  to  be  having  all  sorts  of  trou- 
bles.   "But,  what  makes  you  say  that?" 

"Watch  him  and  you'll  see  what  I 
mean."  Peggy  turned  towards  the  set. 
Jordan  had  just  called  a  bit  of  direction. 
Gloria,  had  stiffened,  resenting  the  tone 
used.  Ned  had  merely  smiled,  settled 
down  to  work  and  had  done  as  he  was 
told.  The  result  was  inevitable.  A  bad 
performance  and  a  good  one.  "Do  you 
see?  He's  an  artist.  You  don't  have 
to  tell  him  a  thing  more  than  fifty  times. 
He's  learned  that  a  brain  isn't  merely  an 
ornament." 

Browning  chuckled  audibly.  He  faced 
Peggy,  who  had  glanced  quickly  up  at 
him. 

"You  talk  like  a  girl  with  a  world  of 
screen  experience,"  he  said  in  a  kindly 
tone.  "But  why  so  strong  for  Ned? 
You're  not  losing  your  head  over  him, 
are  you?" 

"OEGGY'S  laugh  had  a  note  of  grim- 
ness  in  it. 
^T'm  not  placing  much  money  with 
the  noes  on  that  point,"  she  said  with  a 
frankness  that  startled  Browning  and, 
at  the  same  time,  increased  his  respect 
for  her.  "You  don't  spend  many  days 
on  or  off  the  set  with  him  without  be- 
coming at  least  an  admirer." 

"It's  wise  to  stop  with  the  admira- 
tion." Browning  was  smiling  in  a  friend- 
ly manner,  but  his  tone  was  serious.  "It 
doesn't  pay  to  play  in  the  clouds.  Liv- 
ing is  mostly  a  matter  of  keeping  your 
feet  on  the  ground  and  your  head  on 
your  shoulders.  Lose  the  connection  and 
you  skid."  His  smile  broadened.  "Un- 
derstand me?" 


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(Continued  from  page  86) 

"I'd  have  to  be  awful  dumb  if  I  didn't." 
The  laughter  points  were  gone  from 
Peggy's  eyes.  "But  there  isn't  any  law  that 
prevents  a  person  from  thinking  things." 

"No,"  agreed  Browning,  leaning  back 
and  lighting  his  cigarette  directly  under 
a  prominent  "NO  SMOKING"  sign. 
"But  Anthony  might  have  guessed  what 
was  going  to  happen  to  him  when  he 
started  playing  around  with  Cleopatra." 

The  corners  of  Peggy's  mouth  turned 
upward  in  a  pleasing  fashion.  She  looked 
even  more  attractive. 

"I  never  met  either  of  'em,"  she  re- 
plied to  Browning's  observation.  "If  they 
lived  over  in  our  street  they've  never 
dropped  in  to  borrow  anything  from  me." 

There  was  a  short  pause  during  which 
both  silently  watched  an  argument  about 
the  scene  that  was  to  be  shot  next.  The 
director  alternated  "between  attempts  to 
convince  Gloria  Thomas  that  he,  the 
script  and  the  author  were  correct,  and 
rapid  century-like  strides  to  the  camera- 
man's position  and  then  back  to  the 
set.  Jordan's  thoughts  during  these  trips 
are  not  matter  of  record,  but  it  is  safe 
to  assume  that  he  inwardly  called  upon 
all  his.  deities  to  witness  the  fact  that 
women  as  a  whole,  and  stars  in  particu- 
lar, are  idiots,  mules,  etc.,  etc. 

During  one  of  these  side  trips,  when 
Jordan  seemed  more  than  ever  on  the 
verge  of  an  explosion  and  Gloria  had 
refused,  to  listen  to  Ned,  Peggy  turned 
to  her  companion. 

"Gee,  but  stars  can  be  nuts!"  Brown- 
ing nodded  his  approval  of  this  opinion. 
"Give  'em  the  earth  and  they  get  sore 
because  no  one  has  mentioned  Mars  and 
Venus  as  their  property."  A  heavy  sigh, 
her  eyes  wandering  back  to  Gloria.  "I 
wish  I  was  a  director  for  about  five  min- 
utes." 

"You've  got  trouble  enough  as  it  is," 
retorted  Browning  dryly.  "One  of  these 
days  you  may  be  driving  some  director  to 
distraction  just  as  Gloria  is  after  Jordan's 
gcat  this  moment." 

Peggy's  face  became  serious.  Firm  lit- 
tle lines  shot  into  life  at  the  corners  of 
her  mouth. 

"When  I  do,"  her  voice  was  as  serious 
as  the  expression  on  her  face,  "you  tell 
me  where  I  get  off  and  make  your  Eng- 
lish emphatic." 

Browning  puffed  thoughtfully  at  his 
cigarette  for  a  moment.  Miss  Thomas 
was  growing  still  more  obdurate  and  even 
Biystone  seemed  in  danger  of  losing  his 
patience  with'  her.  Peggy,  secretly 
pleased  at  the  situation  between  the  two, 
turned  to  her  companion. 

"Can't  any  one  win  success  without 
the  handicap  of  a  swelled  head?" 

Browning's  face  remained  devoid  of  ex- 
pression. He  removed  the  cigarette  from 
the  holder  and  killed  it  with  his  heel. 
He  had  an  odd  habit,  now  and  again,  of 


falling  back  on  parables.  This  was  one 
of  the  moments  when  it  seemed  timely. 

"  'There  was  a  man  in  the  land  of 
Uz  whose  name  was  Job,  and  that  man 
was  perfect  and  upright.'  " 

Peggy  shifted  in  surprise.  She  wasn't 
quite  sure  what  Job  had  to  do  with 
Gloria  Thomas  and  Ned  Biystone,  to  say 
nothing  of  Jordan.  Browning  continued, 
"  'His  substance  was  seven  thousand 
sheep,  and  three  thousand  camels,  and 
five  hundred  yoke  of  oxen,  and  five  hun- 
dred she  asses!" 

Peggy  caught  the  drift.  The  puzzled 
expression  left  her  face  and  a  broad  smile 
replaced  it. 

"Job  had  it  on  Jordan  in  numbers,  but 
that's  about  all,"  she  said  cheerfully. 
'  Specially  so  far  as  the  asses  are  con- 
cerned." A  short  pause.  Then  serious- 
ly, "But  I  do  hope  that  some  one  won't 
fcrget  to  give  me  a  mental  shake-down  if 
the  time  comes  when  I  need  one." 

"That's  what  I've  been  trying  to  do," 
replied  Browning  quietly.  He  smiled 
down  into  Peggy's  upturned  features. 
"You've  got  youth,  good  looks,  person- 
ality, brains  and  about  everything  else 
that  you  need  in  order  to  get  ahead  in 
this  business.  I've  watched  you  and  I 
know  what  I'm  talking  about.  The  one 
thing  you've  got  to  learn  is  to  keep  your 
head  and  never  mind  the  rest  of  'em — 
even  if  there  are  good  looking,  mighty 
fine  men  among  'em." 

"I  get  you,"  said  Peggy.  Then  rue- 
fully, "Even  though  my  brain  and  my — 
my  heart  don't  exactly  agree  on  the  point." 

"Good  girl."  Browning  rose  to  his  feet. 
He  had  a  department  of  readers  who  be- 
lieved in  playing  mice  when  the  cat  was 
away  and  he  had  to  produce  results.  "And 
good  luck.  See  you  again." 

Peggy  watched  Browning  amble  across 
the  studio  and  through  the  door  that 
led  to  the  departments  downstairs.  She 
knew  he  was  right.  She  belonged  in  one 
sphere  and  Ned  in  another.  And  even 
if  Gloria  Thomas  was  a  cat  and  a  she- 
ass  rolled  into  one,  it  was  none  of  an 
extra  girl's  business  even  when  that  extra 
girl  had  been  told  that  there  was  a  bit 
waiting  for  her  in  the  picture  under  way. 

Browning,  his  interview  with  Peggy  still 
in  blind,  decided  to  put  in  a  good  word 
for  her  if  the  opportunity  presented  itself 
or  he  was  able  to  make  it  naturally.  He 
had  done  such  things  before.  Everyone 
else,  including  the  lady  herself,  had  for- 
gotten the  fact,  but  he  had  been  the  first 
one  to  see  money  in  Gloria  Thomas. 
With  the  same  almost  uncanny  foresight 
he  now  realized  that  .the  time  was  not 
so  far  distant  when  the  temperamental 
leading  woman  could  get  beyond  the 
limits  that  even  a  director  can  be  ex- 
pected to  undergo. 

He  casually  mentioned  the  fact  to  Dion, 
the  casting  director,  as  he  met  him  a 
(Continued  on  page  90) 


SCEEENLAND 


What  Is  Your  Pet 
Superstition? 

Will  a  broken  mirror  cause 

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What  makes  13  an  unlucky 

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"lucky  omen"? 
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Behind  the  Pages 
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READ  ABOUT 

— the  king  who  kissed  every 

girl  in  Normandy 
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boy  and  girl 
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tory who  wore  a  corset 
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Napoleon  unhappy 
— the  wonderful   bard  who 

was  blinded  by  the  Greeks 
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she  was  a  "witch" 

One  Person  in  a 
Thousand  Knows 

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Man's  Habits  and  Instincts  Traced 
Back  to  Their  Source 

All  civilization  is  but  a  thin  veneer 
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Similarly,  we  throw  rice  after  the 
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in  full  payment  for  a  book  that  would 
ordinarily  sell  for  s^5.00.  You  have  the 
privilege  of  returning  the  book  any 
time  within  5  days  and  having  your 
money  refunded  if  you  are  not 
amazed  and  delighted. 

Be  sure  to  get  your  copy  of  this 
beautiful  first  edition  at  the  special 
price.  Use  this  coupon  today — 
Now.  Nelson  Doubleday,  Inc., 
Dept.  A-8710  Garden  City,  New 
York. 


I 


NELSON  DOUBLEDAY,  Inc.,  Dept.  A-8710 
Garden  City,  New  York 

You  may  enter  tnv  name  on  the  special  "dvance  list  to  receive  one  of 
the  first  copies  of  "The  Customs  of  Mankind"  by  Lillian  Eichler.  Under 
the  terms  of  vour  special  pre-publication  offer.  I  will  give  the  postman 
only  $2.98  (phis  few  cents  postage)  in  full  payment  on  arrival— for  the 
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book  any  time  within  5  days  and  having  my  money  refunded  if  I  am  not 
swept  away  by  its  beauty  and  fascination.    I  am  to  be  the  sole  judge. 


Name. 


I     Address . 


90 


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moment  or  two  later.  Dion  podded. 
Then  he  queried: 

"Why  in  hell  did  you  ever  land  in  the 
scenario?" 

Browning  stared  thoughtfully  ahead  for 
a  moment.  He  turned  a  serious  face  to 
his  questioner.  Again  he  resorted  to 
Job. 

"  'I  am  an  inoffensive  man,'  as  was 
Job.  Fate  cast  me  in  the  role  of  a 
scenario  editor."  He  paused  reflectively. 
"In  my  early  days  I  was  a  farmboy.  My 
greatest  achievement  will  be  when  I  get 
back  to  that  position."  Then  with 
seeming  incongruity,  "That  Dixon  girl  is 
a  mighty  interesting  little  extra;  she  will 
bear  watching." 

Having  dropped  a  seed  where  there 
was  a  possibility  of  some  return,  Brown- 
ing continued  on  his  way  towards  the 
office. 

ACK  in  the  studio  a  compromise,  de- 
cidedly in  Gloria's  favor,  had  been 
arrived  at  and  the  shooting  of  the  scene 
had  been  completed.  At  the  conclusion 
Jordan  declared  lunch  hour  and  started 
for  the  exit.  He  nearly  stumbled  over 
Peggy  still  seated  where  Browning  had 
left  her.  He  looked  down  at  the  attrac- 
tive little  creature  at  his  feet. 

"Is  your  name  Dixon?"  he  demanded. 
Peggy's  lips  went  dry,  and  her  tongue 
clove  to  the  roof  of  her  mouth. 

"You're  not  dumb,  are  you?"  con- 
tinued Jordan. 

"Not  yet,"  with  promptness  this  time. 
"And  my  name  is  Peggy  Dixon." 

"You're  going  with  us  on  location  in 
my  next  picture — next  week.  You'd  bet- 
ter be  good ;  and  don't  develop  tempera- 
ment." He  passed  on  with  a  grim  ex- 
pression on  his  face. 

The  rest  of  the  day  was  a  hectic  daze 
for  Peggy.  She  did  what  she  was  sup- 
posed to  do  somehow,  she  wasn't  quite 
certain  how.  Every  moment,  even  when 
the  assistant  director  was  cursing  a 
scene,  of  which  she  was  a  member,  and 
calling  on  his  maker  to  witness  how 
stupid  humans  can  be;  even  then  six 
words  sang  their  way  through  her  brain — 
"You  go  with  us  on  location." 

Aggie  was  home  when  Peggy  burst 
into  the  home  of  the  trio  at  seven  o'clock. 
Her  employer  had  complimented  her 
twice,  during  the  day,  because  of  her 
orderly  efficiency,  and  threatened  a  raise. 
Her  first  jolt  came  with  the  entrance  of 
her  irresponsible  roommate.  She  looked 
up  from  a  volume  on  office  management 
to  see  Peggy  in  the  midst  of  a  dance  of 
triumph.  She  watched,  just  the  sugges- 
tion of  lofty  pity  on  her  face,  as  the  neo- 
phyte executed  a  pirouette,  gave  a  sud- 
den leap  forward  and  ended  her  perform- 
ance by  enveloping  her  roommate  in  her 
aims.  Aggie  extricated  herself  from  the 
"bear  hug"  and  looked  patiently  up  at 
Peggy. 


SCREENLAHB 

"Peggy,  you're  impossible.  Will  you 
ever  grow  up?" 

"Not  if  it  can  be  avoided,"  was 
Peggy's  joyous  retort.  Hat,  gloves,  neck- 
scarf  were  flying  left  and  right  as  she 
spoke.  "But  that  isn't  the  important 
thing.  Jordan  himself  —  Jordan  the 
mighty,  the  unapproachable,  the  king's 
own  messenger,  has  spoken  to  little  Peggy 
and  I  really  and  truly  am  going  to  go 
on  location  with  the  company.  Altman 
said  I  would,  but  I  didn't  believe  him." 
She  sank,  exhausted  onto  Lois'  cot.  Peggy 
had  a  devilish  aptitude  for  landing  on 
either  couch  but  her  own  at  moments 
like  this. 

"You're  messing  up  the  room  dread- 
fully," said  Aggie  severely. 

"Oh,  hell!"  Peggy's  comment  was  em- 
phatic if  not  elegant.  Whatever  else  she 
had  on  her  mind  was  sidetracked  by  the 
entrance  of  Lois.  The  old  enthusiasm 
welling  up  again,  she  poured  the  news 
into  Lois'  ears  and  their  war  dance  of 
joy  came  to  an  end  only  when  Aggie  re- 
minded them  of  the  fact  that  Miss  Cous- 
ins didn't  mind  tenants  but  might  object 
to  a  menagerie  over  her  head. 

Peggy  collapsed  into  a  chair. 

"You're  a  darling,  Aggie;  but  you  sure 
can  take  the  joy  out  of  life."  Lois'  com- 
ment passed  off  Aggie  as  water  from  a 
duck.  Then  to  Peggy,  "I  think  it's  great. 
And  all  we  need  now  is  to  have  our  fairy 
godmother  knock  on  the  door  and  inform 
us  the  Fierce  Sparrow  waits  without." 

Peggy  shook  her  bobbed  head  vigorous- 
ly. 

"There  ain't  no  such  animal,"  she  said 
laconically. 

There  was  a  knock  on  the  studio  door. 
For  a  second  none  of  the  three  moved. 
Then,  simultaneously,  Lois  and  Peggy 
turned  towards  one  another  the  same 
question  in  each  pair  of  eyes.  Aggie  alone 
seemed  unmoved.  The  knock  was  re- 
peated with  more  vigor. 

"It's  your  turn,  Lois,  if  it's  Miss 
Cousins,"  said  Peggy  in  a  guarded  tone. 
"And  for  the  love  of  Pete,  make  it  a 
good  one." 

"Come  in,"  intoned  Aggie,  in  a  precise 
voice.  No  matter  what  Aggie  did,  she 
was  always  cool  and  collected. 

The  door  was  pushed  opened.  Two 
young  chaps  stood  revealed.  One  was 
tail  and  angular.  He  was  dressed  in  a 
gray  baggy  tweed  suit,  badly  in  need  of 
a  tailor's  attention.  The  other  was  short 
and  round,  with  a  red  shiny  face.  Peggy 
threw  back  her  head  and  howled  joy- 
ously. 

The  tall  young  man  flushed  slightly, 
but  before  offering  other  evidences  of 
embarrassment,  his  shorter  companion 
pushed  him  inside  the  room  and  closed 
the  door. 

"Sid  Nelson — you!  And  Bert,  too! 
Shades  of  King  Edward;  the  nerve  of 
you  two!" 


Here's  Positive  Proof 

That  I  Can  Grow  New  Hair 

These  are  true,  unretouched  photographs  showing  Mr.  Murray  Sandow's  hair  before— 
and  60  days  after  using  my  remarkable  new  treatment  for  baldness  and  falling  hair. 
This  is  not  a  rare  instance.  Many  others  report  equally  astonishing  results.  To  try  my 
new  discovery  you  need  not  risk  a  cent.  For  I  positively  guarantee  results  or  charge  you 
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By  ALOIS  MERKE 

Founder  of  Merke  Institute,  Fifth  Ave.,  N.  Y. 


OR  many  months  you  have  seen  an- 
nouncements concerning  my  new 
treatment  for  baldness  and  falling 
hair.  If  you  are  bald  and  have  tried  other 
treatments  without  results  then  naturally 
you  are  skeptical.  All  right,  I  don't 
blame  you. 

But  what  better  PROOF  is  there  that  I 
can  actually  grow  new  hair  than  these  two 
photographs  reproduced  above.  They 
illustrate  a  result  that  hundreds  of  others 
have  written  us  they  too  have  secured  through  use  of  my 
marvelous  discovery.  In  this  particular  case,  Mr.  Murray 
Sandow,  of  New  York  City,  started  my  treatment  January 
23,  1924 — and  sixty  days  later— as  you  can  see— he  had  an 
almost  entirely  new  growth  of  hair. 

Entirely  New  Method 

My  invention  involves  the  application  of  new  principles 
in  stimulating  hair  growth.  It  proves  that  in  many  cases  of 
baldness — the  hair  roots  are  not  dead — but  merely  dormant. 
The  reason  tonics  and  other  treatment  fail  to  grow  new  hair 
is  because  they  do  not  reach  these  dormant  hair  roots,  but 
instead  simply  treat  the  surface  of  the  scalp. 

To  make  a  tree  grow  you  could  not  rub  "growing  fluid"  on 
the  bark.  Instead  you  would  get  right  to  the  roots.  And  so 
it  is  with  the  hair. 

No  Excuse  for  Most  Baldness 

At  the  Merke  Institute  on  Fifth  Avenue,  New  York,  I've 
treated  scores  of  prominent  stage  and  social  celebrities — some 
paying  as  high  as  $500  for  the  results  my  methods  produced. 


Yet  now  by  means  of  The  Merke  Thermocap  Treatment, 
adapting  the  same  principles  to  home  use — thousands  of  men 
and  women  everywhere  are  securing  the  desired  results — right 
in  any  home  where  there  is  electricity — and  for  just  a  few 
cents  a  day! 

I  don't  say  my  treatment  will  grow  hair  in  every  case. 
There  are  some  cases  that  nothing  in  the  world  can  help. 
But  since  so  many  others  have  regained  hair  this  new  way, 
isn't  it  worth  a  trial — especially  since  you  do  not  risk  a  penny? 
For  at  the  end  of  a  month  if  you  are  not  more  than  delighted 
with  the  growth  of  hair  produced,  you  won't  be  out  a  cent. 
That's  my  absolute  Guarantee.  AND  YOU  ARE  THE  SOLE 
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ALLIED  MERKE  INSTITUTE.  Inc.. 

512  Fifth  Avenue,  Dept.  6710,  New  York  City 
Please  send  me,  without  cost  or  obligation  on  ray  pari,  the 
free  copy  of  the  new  booklet  describing  in  detail  the  Merke 
Thermocap  treatment. 

Name 


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Sid  smiled  in  embarrassment.  As  long 
as-  he  had  known  Peggy  he  had  never 
quite  become  acclimated  to  her  style  of 
humor. 

"Bert's  ship  came  in  today — and 
brought  a  letter  from  home,  old  thing. 
Didn't  it,  Bert?"  He  pushed  the  shorter 
Englishman  to  the  front.  "You  tell 
them." 

It  might  be  added  here  that  neither  of 
the  two  men  was  quite  sure  of  their  re- 
ception. Two-  impecunious  young  Eng- 
lishmen, Sid  was  trying  to  put  over  a 
sales  idea  for  an  English  game  which 
New  Yorkers  as  yet  had  failed  to  ap- 
preciate. And  Bert  was  connected  in  a 
lowly  capacity  with  an  automobile  con- 
cern, with  the  nebulous  idea  of  learning 
the  sales  business  and  returning  to  Eng- 
land. Both  were  invariably  broke.  On 
the  evening  before  they  had  taken  the 
two  girls  out  in  a  borrowed  car,  and  when 
their  trip  was  nearing  an  end  they  had 
decided  that  it  would  be  much  more  con- 
venient to  dump  their  guests  out  at  a 
convenient  subway  station  rather  than 
drive  them  all  the  way  home.  Peggy 
had  voiced  her  indignation  in  no  uncer- 
tain terms.  The  boys'  departure  was  un- 
der a  cloud. 

However,  Peggy's  vexation  was  not  of 
a  lasting  variety,  and  she  was-  quite  ready 
to  forgive  them,  especially  as  there  were 
prospects  of  eats.  Lois  was  not  quite  so 
willing  to  let  bygones  be  bygones.  Her 
quarrel  with  Bert  was  of  a  more  personal 
nature.    She  remained  coldly  silent. 

Bert  addressed  his  words  to  Peggy,  but 
his  eyes  were  on  Lois  appealingly.  "Quite 
so,  Peggy — dash  it  all — my  Governor, 
you  know,  isn't  a  bad  sort,  at  times — I 
guess,  though,  it's  the  mater  at  that  " 

"Well,  well,  get  on,"'  maliciously 
piodded  Peggy.  "Tell  us  the  rest  of  it; 
we're  not  particular,  are  we?"  turning  to 
the  silent  Lois.  The  fetter's  only  answer 
was  a  vague  shrugging  of  a  pair  of  shapely 
shoulders. 

Somewhat  discouraged  by  Lois'  cold- 
ness, Bert  wet  his  lips  nervously.  "Hang 
it  all,  you  know,  we  thought — that  is — 
dash  it  all,"  in  desperation,  reverting  to 
an  Americanism,  "Where  do  we  eat?" 

"Now  you're  talking  our  language.  Any 
place  that  begins  with  relish  and  ends 
with  coffee  and,"  replied  Peggy  promptly. 
She  pushed  Bert  toward  Lois  and,  crossed 
quickly  to  Sid,  planting  a  sisterly  kiss  on 
his  cheek.  "You're  a  nice,  pair  of  clean- 
shaven rescuers  who  have  saved  three 
starvin'  children  from  an  early  and  unde- 
served grace." 

"I  shan't  be  able  to  go."  Three  pairs 
of  eyes  were  focused  on  Aggie.  She  con- 
tinued undisturbed.  "I  dined  before  com- 
ing home." 

"Then  we'll  have  to  struggle  along  with- 
out you  somehow,"  said  Sid.  "I'll  bring 
you  and  Mrs.  Dubois  home  a  chicken 
wing." 


'Peggy  seized  a  pillow  and  hurled  it  at 
Sid.  It  narrowly  missed  a  tiny  goldfish 
bowl  on  a  corner  of  the  bureau.  Aggie 
looked  severely  towards  the  culprit.  The 
diversion  dissipated  Lois'  grouch. 

"You  might  have  killed  Ghoulish  and 
Foolish,"  she  said  sternly. 

"I'm  sorry,"  rejoined  Peggy  sincerely. 
"But  I  couldn't  stand  Sid's  heavy  hu- 
mor." She  crossed  to  the  bowl,  Sid  watch- 
ing her  with  adoring  eyes,  and  addressed 
the  fish.  "You  poor  little  dears.  We 
haven't  fed  you  since  the  Lord  knows 
when  and  you  never  let  a  peep  out  of 
you." 

She  turned  quickly  towards  Lois,  who 
had  begun  hurried  arrangements  for  the 
coming  gastronomical  adventure. 

"Do  you  realize  that  we  haven't  chris- 
tened our  little  fishes  lately?" 

The  re-christening  o  the  goldfish  was 
a  serious  and  long  honored  rite  for  the 
girls.  Even  Aggie  participated,  some- 
what reluctantly  it  must  be  admitted,  in 
the  ceremony.  Sid  and  Bert,  as  donors 
of  the  goldfish,  were  expected  to  take 
part  whenever  present.  They  gathered  in 
a  semi-circle  before  the  bowl,  their  young 
faces  serious,  their  minds  searching  foi 
the  proper  names  to  bestow.  They  hac 
once  named  the  fish  Adenoid  and  Thyroid 
out  of  deference  to  a  young  doctor  whc 
at  the  time  was  deeply  interested  ir 
Lois. 

On  the  present  occasion,  Peggy  was 
the  first  to  be  inspired.  She  turned  tc 
Lois. 

"You  shall  be  the  honored  one  thi1 
evening,  my  dear.  We  shall  name  ou: 
darlings  Vacuous."  She  hesitated  for  ai 
instant  and  the  finished  triumphantly 
"and  Fatuous.  And  now,  boys,  you  ma; 
lead  th  estarving  population  forward  t 
the  eats." 

BILLY  LA  HIFF'S  Tavern,  in  48t 
Street  just  off  Seventh  Avenue,  i 
the  gathering  place  of  the  show  busines 
elite.  The  excellency  of  its  reasonabl 
priced  meals  is  the  magnet.  It  was  ther 
that  Peggy,  appointed  leader  of  the  quai 
tctte,  led  the  party.  There  is  an  unwri, 
ten  tradition  among  the  members  of  th 
curiously  coded  little  world  in  which  th 
girls  moved  that  an  outsider  may  be  ir 
traduced  to  the  most  expensive  restai 
rants  and  produce  taxicabs  regardless  c 
expense.  It  is  equally  understood  ths 
when  one  of  the  chosen  does  the  honoj 
the  recipients  are  honor  bound  to  cor 
fine  desire  within  the  bounds  of  reason. 

The  Tavern  was  crowded  with  profe; 
sionals.  The  tables  had  held  dinners  fc 
more  than  one  Broadway  celebrity  wh 
wanted  to  steal  away  from  the  gaze  ( 
the  curious  and  appease  his  or  her  hui 
ger  among  his  or  her  own  kind.  Pegg 
with  the  others  close  behind,  headed  t< 
wards  an  empty  table  in  the  corner  whei 
the  picture  of  a  late  President  joins  banc 


Do  You  Know — 

how  to  order  in  a  restaurant? 
how     to     plan     a  formal 
wedding? 

how    to    adapt    yourself  to 
every  environment? 

how  to  be  socially  popular? 

how    to    call    on    a  young 
woman? 

how  to  propose  marriage? 

how  to  entertain  in  the 
latest  approved  fashion? 

how  to  make  friends  easily  ? 

how  to  plan  a  bridal  shower? 

how   to   introduce  people? 

how  to  entertain  at  a  club? 

how   to    set    a    table    for  a 
formal  dinner? 

how    to    pronounce  French 
words  ? 

how  to  give  and  receive  gifts? 
how  to  acquire  confidence  ? 
how  to  tip  properly? 

fJrom  Jhe 
Uable  of  Contents 

Etiquette   through   the  ages 

The     background     of  American 

manners 
The  newer  trend 
The  value   of  good  manners 
Wearing  the  mask  of  pretense 
Etio.uette  in  a  large  city 
Etiquette  in  a  small  town 
Who  pays  the  fare? 
Overcoming  timidity 
If  you  are  sensitive 
Invitations  for  every  occasion 
The  secret  of  correct  dress 
Childhood  and  youth 
The  promise   of  love 
The  blossoming  of  love 
Marriage 

Xew  ways  to  entertain 

Travel  etiquette 

Business  etiquette 

— and  a  wealth  of  other  fascinat- 
ing subjects  too  numerous  to 
mention. 


"Filet  Mignon,  Please! 

~and  She  Thought  it  Was  Fish 


ii TOILET  MIGNON,  please,"  she 
_F  had  clearly  told  the  waiter 
just  a  few  moments  ago — and  now 
he  brought  her  steak. 

"Why,  waiter,  I  didn't  want  steak. 
I  ordered  Filet  Mignon." 

"Yes,  Madame,  that  Filet  Mignon 
is  very  good." 

But  I  thought  Filet  Mignon  was 
fi — "  and  then  she  checked  herself. 
Oh,  what  an  awful  blunder — her 
cheeks  burned  with  humiliation  !  Why 
had  she  ever  supposed  that  Filet 
Mignon  was  like  Filet  de  Sole !  How 
queerly  Bob  stared  at  her — how 
quizzically  he  smiled.   Was  he  think- 

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ink  that  she  wasn't  as  cultered  as  he 
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vited her. 

Why  had  she  dared  to  come !  She 
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the  French  words  on  the.  menu  be- 
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with  a  Viking  ship.  Her  elbow  came  in 
contact  with  some  one  just  rising  from 
one  of  the  tables.  She  turned  to  apolo- 
gize and  found  Ned  Blystone  smiling 
down  at  her. 

"It  was  my  fault,"  he  said  before 
Peggy-  could  apologize.  Then,  turning  to 
his  companion,  "You  know  Miss  Thomas, 
don't  you?  We're  all  working  on  the 
same  picture." 

Miss  Gloria  Thomas  condescended  to 
a  frigid  nod  of  her  head  and  informed 
her  escort  that  they  would  be  late  for  the 


SC1REENLANI 

curtain  of  a  certain  Broadway  hit. 

"We'll  make  it  all  right,"  he  said  easily 
Then,  to  Peggy:  "Jordan  tells  me  tha 
he  has  picked  you  for  a  small  part.  Goo< 
luck.  And  if  there  is  anything  I  can  di 
to  help,  let  me  know." 

With  a  smile,  he  turned  from  the  as 
tcunded  Peggy  to  Gloria  who,  if  her  ex 
pression  at  the  moment  was  indicative  o: 
her  thoughts,  would  have  poured  vitrio 
in  the  other  woman's  face  and  considerec 
it  a  job  well  done. 

(Continued  in  November.) 


Q  Where  Beauty  Serves^from  page  67 


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else  may  spot  her.  Honestly,  she  looks 
like  a  swell  painting — the  kind  the  Pig- 
and-Whistle  have  in  their  Broadway  res- 
taurant." 

"Let's  see — who  else  of  the  Baker's 
Dozen  have  I  seen  lately?  Oh,  yeh,  Betty 
Blake's  a  script  girl  now  out  at  Goldwyn- 
Mayer.  She  wanted  to  eat  regular,  she 
said,  but  she  couldn't  bear  to  go  back 
home  to  Toledo,  so  she  got  Mickey  Neilan 
to  get  her  a  tryout  as  a  script  girl,  and 
while  she's  not  working  for  Mickey  him- 
self, he  drops  in  on  her  set  every  once  in 
a  while  and  says  hello,  real  chummy.  I 
bet  she'll  be  working  for  Mickey  in  a 
picture  yet!" 

That,  with  a  little  smoothing  out  and 
welding  together  and  changing  of  names, 
is  what  I  listened  to  as  I  ate  my  lunch 
in  Betty's  "Come  On  Inn."  But  that's 
not  all.  I  couldn't  play  deaf,  dumb  and 
blind  any  longer.  And  there  was  a  ques- 
tion I  was  burning  to  ask.  It  came  out 
just  as  the  girls  were  waiting  for  their 
change,  and  while  they  were  powdering 
their  pert  little  noses. 

"Would  you  mind  telling  me,  girls,  and 
forgive  me  for  having  listened  in — " 

"Gee,  you  couldn't  help  it,  with  us 
broadcasting  like  we  did,"  the  girl  Lorna 
chuckled.  "Shoot!  Of  course  it's  all 
right." 

"Then  would  you  mind  telling  me  if 
you  think  the  game  is  worth  the  candle?" 

The  next  moment  I  was  sorry,  for  I 
had  asked  the  question  which  no  extra 
likes  to  be  confronted  with.  It  dashes 
for  a  brief  instant  that  high  courage 
which  is  their  chief  characteristic. 

But  Lorna  recovered  quickly:  "Is  the 
game  worth  the  candle?  Well,  my  dear, 
It's  all  according  to  what  you  think  the 
game  is.  Now  me  and  my  girl  friend 
here,  we've  been  in  pictures  off  and  on 
for  three  years  now,  and  we  wouldn't  quit 
— not  for  good,  that  is,  would  we,  Lois?" 

Lois  smoothed  her  sleek  boyish  bob  and 
gave  a  final  flirt  of  her  powder  puff  on 
the  smooth  olive  of  her  pretty  cheek. 
'No,  indeedy.  I'm  going  to  start  in  again. 
I've  got  my  stake,  enough  to  last  me  two 
or  three  months,  if  I  only  get  a  day  or 
two  a  week." 


<■  t~%Tov  £ee>  it's  this  way,"  Lorna  ex- 
plained  carefully,  as  if  to  a 
stupid  child.  "You  people  on  the  side 
lines  who  think  you  know  your  Holly- 
wood and  feel  sorry  for  the  extras  and  sc 
on  don't  realize  that  it  is  a  game.  Why, 
I  bet  there's  not  a  girl  in  the  world 
wouldn't  like  to  be  here  too,  seeing  all 
the  stars,  and  getting  to  put  on  make-up 
and  work  in  pictures,  no  matter  if  it  is 
only  a  day  or  two  a  week!  And  then 
there's  always  the  chance  that  somebody 
that  counts  will  see  you  or  that  a  little 
bit  you  get  may  show  up  big  in  the  pic- 
ture, or — or  something  like  that!  Why, 
Helen  Ferguson,  a  friend  of  mine,  was  an 
extra  for  years,  and  if  she'd  gotten  cold 
feet  and  quit,  she'd  never  have  got  where 
she  is  now.  And  Gloria  Swanson  was  an 
extra  once,  and  so  was  Betty  Compson 
and  lots  of  the  big  ones." 

"Then  the  half-starving  and  the  uncer- 
tainty and  the  anxiety  and  the  'Nothing 
today'  doesn't  discourage  you?"  I  probed. 

"Oh,  sure,  we  get  down  and  out,  all  of 
us.  Some  of  us  quit  and  go  back  home. 
Not  me !  But  even  if  I  don't  ever  get  to 
be  a  featured  player  or  a  star,  I'll  have 
had  one  grand  good  time  while  I'm 
young!  Gee,  it's  been  a  great  adventure! 
Why,  I  was  just  a  little  nobody  in  a  little 
town  in  Minnesota,  nothing  much  to  do 
but  get  married  to  one  of  the  small-town 
boys.  Now — I'm  just  a  little  somebody 
in  Hollywood,  but  I've  had  a  wonderful 
time,  and  I  know  all  the  big  picture 
people  that  the  other  girls  in  my  home 
town  would  give  their  eyes  to  know — 
you  can  laugh,"  she  continued  with  quick 
humor,  although  I  had  only  smiled,  "Sure 
I  know  what  you  mean.  I  don't  exactly 
chum  with  Pola  Negri  and  Tommy 
Meighan  and  C.B.,  but  they  all  speak  to 
me  when  I  pass- them  on  a  set,  and '  I 
know  them,  which  is  something.  Yeh, 
I've  had  barrels  of  fun,  and  I'm  young 
and  strong,  I  guess  it  hasn't  hurt  me  to 
go  without  a  meal  once  in  a  while,  or  to 
wear  made-over  clothes." 

So  there  you  see  what  I  saw — the  heart 
of  an  extra  girl.  The  warm,  living,  ad- 
venturous, ambitious,  happy  heart  of  an 
extra  girl — that  downtrodden  being  whom 
all  the  reformers  pity  so  and  about  whom 


3C1EENLANB 


9  5 


o  much  is  written  that  she  even  feels 
orry  for  herself  when  she  reads  it ! 

As  I  walked  along  Hollywood  Boule- 
-ard  that  afternoon,  doing  a  little  shop- 
ping here,  looking  into  windows  there,  I 
jaw  with  new  and  educated  eyes  those 
Who  are  temporarily  out  of  the  ''game! 

Like  all  others  who  have  been  waited 
in  by  beautiful  girls  in  department  stores 
lind  restaurants,  I  have  pitied  these 
novie-struck  beauties  who  have  been 
iidetracked  into  service,  and  service  of  a 
;ort  that  ill  becomes  their  youth  and 
jeauty.  And  I  realized  that  Los  Angeles 
ind  its  suburbs — all  those  beautiful  little 

■  owns  that  cluster  about  the  big  city  of 

■  he  west — are  not  being  served  by  bitterly 

■  disappointed  beauty  in  distress.  Los  An- 
jeles  is  being  served  by  beauty — true. 
'out  by  beauty  which  holds  its  beauty  in 
:rust  for  the  Great  God  Film.  That'.? 
why  they  linger  on,  making  a  living  as 

Bbest  they  may,  so  that  they  may  accu- 
mulate another  stake  and  go  back  again 
to  lay  their  all  at  the  foot  of  that  in- 
satiable god — a  god  which  must  be  fed 
upon  beauty  and  youth  and  talent,  day 
in  and  day  out.  A  god  which  rewards 
every  day  in  the  year,  the  faithful  and 
true,  the  never-say-die. 

QHe  Can  Tell  at  a  Glance— 
from  page  23. 

may  decide  to  come  back  one  of 
(these  days. 

There  are  countless  camera  beauties 
in  whom  Johnston  has  discovered  new 
possibility  for  pathos  or  piquancy — and 
brought  them  out.  But  that's  another 
story.  More  to  the  point  is  his  emph 
sis  of  the  brains  back  of  the  smile,  and 
his  insistence  that  a  lovely  face  and  body 
are  not  the  only  basis  for  screen  sue 
cess.  And  when  you  consider  the  hun- 
dreds of  merely  beautiful  girls  he  has 
photographed  who  haven't  become  screen 
:  stars,  you  must  admit  he  is  right. 

(\Pnzzle  Ansivers  from  Page_37 

Betty's  Puzzle — Horizontal,  2 — Boa.  6 
— Xo.  7— Ear.  8— To  9— Betty.  11— 
Turn.  13 — Soul.  16— A.N.A.,  17— Use, 
IS— Pain.  19 — Anno,  20 — Doing.  22 — 
Lo,  24— Too.  25— Ex,  26— E.N.E.  Verti- 
cal—1 — So.  2— Been.  3— Oat.  4— Arts.  5 
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Address. 


SCKEENLAN1 


WILLIAM  FOX 

UNEXCELLED 
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for 
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play  from  novel  by 
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CENTRAL  THEATRE 
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DANTE'S  INFERNO 

A  modern  version  of  the 
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A  Henry  Otto  production 

theTdancers 

From  stage  play  by 
Gerald  du  Maurier  and 
Viola  Tree 
An  Emmett  Flynn 
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HUNTING 
WILD  ANIMALS 
IN  HOLLYWOOD 

A  thrilling  Comedy 
Melodrama 
A  Thomas  Buckingham 
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The  Greatest  Stage 

Success  of  the 
Present  Generation 
WILLIAM  FOX 

Presents 

The  FOOL 

From  Channing  Pollock's 
Stage  Play  of  the  same  name 
A  Harry  Millarde 
production 
World  Premier 
October,  1924 
CENTRAL  THEATRE 


Watch  For  Your  Theatre's  Announcement  of  These 

26  Special  Screen  Plays 


THE  PAINTED  LADY 

From  the  story  by  Larry  Evans 
A  Chester  Bennett  production 

GERALD  CRANSTON'S 
LADY 

From  the  novel  by  Gilbert  Frankau 
An  Emmett  Flynn  production 

TOM  MIX  in 
OH,  YOU  TONY! 

A  sizzling   Comedy  Melodrama 
A    J.  G.  Blystone  production 

DAUGHTERS  OF 
THE  NIGHT 

Secrets  and  perils  of  the 
telephone  girls 
An  Elmer  Clifton  production 

TOM  MIX  in  TEETH 

A  red-blooded  Drama  with 
Duke,  the  dog,  and  Tony,  the  horse 
A    J.  G.  Blystone  production 

THE  CYCLONE  RIDER 

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A  Thomas   Buckingham  production 

TOM  MIX  in 
DICK  TURPIN 

A  thrilling   adventure  romance 
A  John  Conway  production 

THE  WARRENS  OF 
VIRGINIA 

David   Belasco's  .  stage  triumph 
An  Elmer  Clifton  production 

TOM  MIX  in  RIDERS 
OF  THE  PURPLE  SAGE 

With  Tony,   the  Wonder  Horse 
Zane  Grey's  best  seller 
A  Lynn  Reynolds  production 

THORNS  OF  PASSION 

Adapted  from  "The  Roughneck" 
by  Robert  W.  Service 
A  John  Conway  production 

TOM  MIX  and  TONY  in 
THE  RAINBOW  TRAIL 

Zane  Grey's  Western  Drama 
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TOM  MIX  in  THE 
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With  Tony,  the  Wonder  Horse 
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A  Lynn  Reynolds  production 


EVERYMAN'S  WIFE 

Intrigue,  mystery  and  happiness 
An  Emmett  Flynn  production 

TOM  MIX  in  THE 
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Zane  Grey's  virile  Drama,  with  . 
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IT  IS  THE  LAW 

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FLAMES  OF  DESIRE 

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At  what  age  should  a  girl  marry? 
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DAMAGED  SOULS 

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A  Maurice  Elvey  production 


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/ 


F01 
ALL 
Sixteen 


16  Wonderful  Selections  on 
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These  Sparkling  New  Dance  Hits 


Somebody  Loves  Me 
Follow  the  Swallow 
Charlie  My  Boy 
I  Can't  Get  the  One  I  Want 
He's  a  New  Kind  of  Man 


Minuet-Medley 
Southern  Roses  Waltz 
Mandalay 
Maytime 

Some  Day  You'll  Miss  Me 


And  These  Up-to-the-Second  Songs 

June  Night  Hinky  Dinky  Parley  Voo 

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for  yourself. 

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United  States. 


NATIONAL  MUSIC 
LOVERS  Inc. 

218  West  40th  Street 
Dept.510 

"\     New  York  City 


National 
Musi' 
Lovers  lr 
21SW.40th 

Dept.b/ 
New  Yor 


Please  send 
10  days'  tria' 
lection  of  If 
est  sonffs,  fc 
waltzes  on 
face,  ten -inch 
anteea  satis  t 
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val. 

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^Outside  U.  P 


□ left.  The  cri 
ONLY  with 


A 


Here,  under  jaunty  parasols,  may  oneobsirve  the  smart  Parisienne— criterion  of  the  newest  mode. 


\s7  lierselj?  explains  tlx 


ans7  ners e 

/^7)arIS!  "Le  nom  meme  est  la 
-L  mode."  (The  very  word  is 
Fashion.)  Nowhere  else,  indeed, 
in  all  the  world  are  the  little  arts 
and  graces  of  the  dressing  hour  so 
understood.  Assurement,  then,will 
the  smart  Americaine  who  desires 
to  possess  a  secret  of  allure  indeed 
fashionable  and  indeed  French, 
adopt  this  charming  custom  of 
the  boudoirs  of  the  Parisian  elite: 

"One  never,  never  mixes  per- 
fumes. Rather  each  so  lovely  aid 
of  the  dressing  table  must  possess 
the  same  French  fragrance." 

So,  will  not  Madame  choose 


xpi 

for  her  very  own  the  speciality 
Djer-Kiss — gifted  as  they  are,  all, 
with  the  same  Parfum  Paris ien: 
Djer-Kiss,  that  supreme  creation 
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ment — her  Talc,  her  Face  Powder, 
yes,  her  Eau  de  toilette,  Soap, 
Creams,  Rouge,  Sachet  —  each 
will  breathe  gently  of  Djer-Kiss; 


Toilette 


oj  Fashion 


each  will  whisper  its  subtle 
secrets  of  charm  Parisien. 

Indeed,  then,  let  Mademoiselle 
purchase  all  these  many  Djer-Kiss 
toiletries  at  her  favorite  shop — 
this  very  day,  n  'est-ce /wj-? Through 
them  all  she  will  add  to  her  own 
charm,  the  elan  Parisien  of  Djer- 
Kiss  itself. 


Send  15c  for 
Monsieur  KerkofPs  Parisian  Paquet 

Monsieur  KerkofP  s  Parisian  Paquet  contains 
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pillow.  His  importateurs  will  be  pleased  to 
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New  York. 


>es  Madame  prefer  loose  Djer-Kiss  Face 
— that  French  poudre  so  infinitely 
f'iov/  she  may  carry  it  with  her  always, 
/     ',  as  easily  as  she  would  a  Compact. 
\  v  Djer-Kiss  Loose  Powder  Vanity 
\iossible ! 


TOILET  WATER  :  VEGETALE 


The  Djer-Kiss  Thin  Model  Face  Powder 
Compact — indeed  a  slender,  graceful  single 
compact  for  slender,  graceful  hands; 
Madame's  choice  of  three  sizes.  A  fine,  cleat 
mirror,  too — and  Djer-Kiss  compact  powder 
in  her  favorite  shade. 


\CE  POWDER  :  SACHET  :  ROUGE  :  LIP  ROUGE  :  CREAMS  :  SOAP  :  BRILLIANTINE 


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WILL  you  marry  the  man 
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— are  there  any  real 
grounds  for  divorce? 

— how  to  increase  your 
desirability  in  a  man's 
eye. 

— how  to  tell  if  someone 

really  loves  you. 
— things   that   make  a 

woman    "cheap"  or 

"common. " 


Do  you  know  how  to  re- 
tain a  man's  affection  always? 
How  to  attract  men?  Do  you 
know  the  things  that  most  irri- 
tateaman?  Or  disgust  a  woman? 
Can  you  tell  when  a  man  really 
loves  you — or  must  you  take 
his  word  for  it?  Do  you  know 
what  you  MUST  NOT  DO  un- 
less you  want  to  be  a  "wall 
flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that 
make  women  like  you?  Why  do 
"wonderful  lovers"  often  be- 
come thoughtless  husbands  soon 
after  marriage — and  how  can 
the  wife  prevent  it?  Do  you  know  how  to 
make  marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places  a 
magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.  No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty, 
deep  sincerity,  and  resolute  courage.  But 
while  Madame  Glyn  calls  a  spade  a  spade 
— while  she  deals  with  strong  emotions 
and  passions  in  her  frank,  fearless  man- 
ner— she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book 
can  safely  be  read  by  any  man  or  woman. 
In  fact,  anyone  over  eighteen  should  be 
compelled  to  read  "The  Philosophy  of 
Love";  for,  while  ignorance  may  some- 
times be  bliss,  it  is  folly  of  the  most  danger- 
ous sort  to  be  ignorant  of  the  problems  of 
love  and  marriage.  As  one  mother  wrote  us: 
"I  wish  I  had  read  this  book  when  I  was  a 
young  girl — it  would  have  saved  me  a  lot 
of  misery  and  suffering." 

Certain  shallow-minded  persons  may 
condemn  "The  Philosophy  of  Love."  Any- 
thing of  such  an  unusual  character  generally 
is.  But  Madame  Glyn  is  content  to  rest  her 
world  wide  reputation  on  this  book — the 
greatest  masterpiece  of  love  ever  attempted ! 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Philosophy  of  Love."  Simply 
fill  out  the  coupon  below — or  write  a  letter 
— and  the  book  will  be  sent  to  you  on  ap- 
proval. When  the  postman  delivers  the 
book  to  your  door — when  it  is  actually  in 
your  hands — pay  him  only  $1.98,  plus  a 
few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content — read 
it  from  cover  to  cover — and  if  you  are  not 
more  than  pleased,  simply  send  the  book 


PHILOSOPHY 
OF  LOVE 

V  ELINOR  GLYN 

uhlluref 'Three  Vtofe 


WARNINQJ 

The  publishers  do  not  care  to  send  "The  Phi- 
losophy of  Love"  to  anyone  under  eighteen 
years  of  age.  So,  unless  you  are  over  eighteen, 
please  do  not  fill  out  the  coupon  below. 


back  in  good  condition  within  five  days 
and  your  money  will  be  refunded  instantly. 

Over  75,000,000  people  have  read  Elinoi 
Glyn's  stories  or  have  seen  them  in  the 
movies.  Her  books  sell  like  magic.  "Tht 
Philosophy  of  Love"  is  the  supreme  culmi- 
nation of  her  brilliant  career.  It  is  destined 
to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  ex- 
ceedingly difficult  to  keep  the  book  in  print. 
It  is  possible  that  the  present  edition  maj 
be  exhausted,  and  you  may  be  compelled 
to  wait  for  your  copy,  unless  you  mail  th< 
coupon  below  AT  ONCE.  We  do  not  saj 
this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupor 
NOW.  Mail  it  to  The  Authors'  Press 
Auburn,  N.  Y.,  before  it  is  too  late.  Thei 
be  prepared  to  read  the  most  daring  bool 
ever  written! 


I  The  Authors'  Press,  Dept.  396.  Auburn,  N.  Y. 

I  Please  send  me  on  approval  Elinor  Glyn's  master- 

!  piece,  "The  Philosophy  of  Love."  When  the  post- 

I  man  delivers  the  book  to  my  door.  I  will  pay  him 

■  only  $1.08,  plus  a  few  pennies  postage.  It  is  under- 

I  stood  however,  that  this  is  not  to  be  considered  a 

I  purchase.  If  the  book  does  not  in  every  way  come 

I  up  to  expectations,  I  reserve  the  right  to. return  it 

I  any  time  within  five  days  after  it  is  received,  and 

'  you  agree  to  refund  my  money. 


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No.  C.  O.  D.  to  Canada,  Hotels  or  General  Delivery  addresses. 

NOTE — On  another  page  of  this  magazine  you  will  find  described 
and  illustrated  the  famous  Annette  Rubberic  Bust  Reducers 


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Dept.  P-13 
30  N.  Michigan  Ave.,  Chicago,  HI. 


cii'M'i^r-i 


GJhd  dnAoJfwrxdant  Screen  Magazine 


NOVEMBER,  1924 


V 


VOL.  X,  NO.  2 

DS)>8 


Eliot  Keen,  Editor 


CONTENTS  FOR  NOVEMBER 

Cover — Jackie  Coogan.    Photographed  in  colors  by  Lejaren  a  Hiller. 
Ask  Me — An  Answer  Page  of  Information.    By  Miss  Vee  Dee 
What  Happened  in  the  Movies  Ten  Years  Ago.  Resurrected  by  Gayne  Dexter 
Ten  Dollars  Offered  for  a  Letter 
Ben  Lyon — A  Portrait         .        .     -  . 
Betty  Bronson — and  her  family 
Shot  at  Sunrise — and  photographed  for  lunch 
Claire  Windsor — A  Portrait 
Anna  Q.  Nilsson — A  Portrait 
Dorothy  Mackaill — A  Portrait 
A  Come-Back.    By  Myron  Zobel 
The  Way  Harold  Lloyd  Plays.    By  Delight  Evans 
Up  From  Comedy.    By  Grace  Kingsley 
Charlie  Chaplin's  New  Picture.    By  Jim  Tully 
Our  Lady  of  Hollywood — Aileen  Pringle 

Will  Rogers — The  Clown  Who  Kidded  the  Prince.    By  Anne  Austin 
Fake  Producing  Companies.'  By  Ted  Taylor  .... 
She  Has  A  Family  on  Her  Hands — Baby  Peggy.    By  W.  R.  Benson 
Harold  Lloyd  Offers  $500.00  in  Prizes  For  Your  Letters  . 
When  "Jackie"  Logan  Sets  the  Fashions.    By  Vohdah  Dexter 
New  Screenplays.    By  Delight  Evans 
Reviews  of  Current  Screenplays.    By  Martin  B.  Dickstein 
Pre-Showing  of  Feature  Films 
Dramaland 

Ruth  Stonehouse — A  Portrait 
Shirley  Mason — A  Portrait 
Anne  Cornwall — A  Portrait 
Patsy  Ruth  Miller — A  Portrait 
Apple  Sauce.    By  Robert  Cyril  O'Brien 

Gossip  From  Screenland.  .  By  Grace  Kingsley  and  G.  W.  Marion 
Epigrams  by  H.  B.  K.  Willis 

■  Larry  Semon.    By  Lynde  Denig  ....... 

Nothing  Today  (Concluded)  By  Hamilton  Thompson  . 

Searchers  in  the  Dark.    By  Rose  Gleason  .... 

Believe  It  or  Not!        .       .  . 

Heard  in  Hollywood.   By  Margaret  Reid  ..... 


4 
6 
7 
9 

10 
11 
12 
13 
14 
15 
16 
20 
24 
28 
30 
33 
37 
38 
40 
42 
48 
50 
56 
59 
60 
61 
62 
63 
64 


71 

80 
90 


Our  Jackie 

Jackie  Coogan's  picture  on 
the  cover  of  this  issue  shows 
you  the  boy  intimately  as  he 
actually  appears.  And  what 
a  boy  he  is  getting  to  be! 
We  are  glad  that  Jackie  is 
growing  up,  for  it  is  written 
in  his  face  that  whatever  age 
he  may  be  he  will  always  be 
the  able  artist,  and  will  bring 
to  the  screen  when  he  is 
twenty-one  as  fresh  a  per- 
sonality as  he  did  at  five. 

Comedians 
Number 

It  has  been  a  great  pleasure 
to  put  together  this,  the  com- 
edians' number  of  Screen- 
land.  Willing  and  helpful 
collaboration  has  been  freely 
given  and  the  heroes  who 
work  for  your  laughs  instead 
of  your  applause  are  all  here 
to  greet  you  with  the  excep- 
tion of  Buster  Keaton  who 
will  only  be  found  in  the  re- 
views. We  are  sorry  that 
Buster's  story  arrived  too  late. 

All  emotion  springs  from 
the  heart,  even  laughter,  for 
you  do  not  laugh  at  the  man 
you  hate.  The  essential  quali- 
fication for  a  good  comedian 
is  a  heart  as  big  as  a  bushel 
basket.  That's  why  you  feel 
kindly  toward  these  hard- 
worked  boys  of  the  screen. 


cor 


Published  monthly  by  Magazine  Builders  Inc.,  at  145  West  57th  Street,  New  York,  N.  Y ,  U.  S.  A. 


J.  Thomas  Wood,  Pres.  Copyright  1924.  Trade  Mark  regis- 
tered. Single  copies  25c.;  subscription  price,  United  States 
and  Canada,  *$2.50  a  year;  foreign,  $3.50.  Entered  as  second- 
class  matter,  November  30,  1923,  at  the  Post  Office  at  New  York, 
N.  Y.,  under  the  Act  of  March  3,  1879.  Additional  entry  at 
Long  Island  City,  N.  "V.  Permission  to  reprint  materia!  must 
be  secured  from  the  publishers.     General  Executive  .md  Editorial 

Printed  in  United 


Offices  at  145  West  57th  Street,  New  York,  N.  Y.  Western 
advertising  offices  at  30  North  Dearborn  St..  Chicago.  111.;  1004 
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Stories.  Subscription  price  United  States  and  Canada,  $2.50  a 
year.  Single  copy  25  cents  each.  Club  rate  for  the  two  maga- 
zines, $4.00  a  year;  foreign,  $6.00 
States  of  America. 


SCREENLAND 


The  November 

REAL 
LIFE 
STORIES 

now  on  the  stands,  has  a  win- 
ning variety  of  fiction.  There 
is  a  story  of  lonely  islands  off 
the  Florida  shore,  peopled  by 
men  whose  standards  of  living 
and  honor  are  as  gnarled  and 
twisted  as  the  trees  blown  by 
the  Atlantic  gales.  But  also 
there  is  love,  and  that  makes  a 
difference. 

HAROLD   TITUS  has 

written  a  most  entertaining 
story  of  a  wife  who  went  along 
too,  and  although  her  husband 
was  a  mining  engineer  and  was 
able  to  discover  nature's  treas- 
ures, he  had  never  found  the 
true  happiness  of  love.  While 
the  setting  of  the  story  is  in  the 
iron  country  of  the  North,  you 
will  find  that  it  will  fit  neatly 
into  your  own  life. 

"The 
Sob  Sister's  Baby" 

Had  Pansy-Blue  Eyes 

The  newspaper  woman  was 
not  the  baby's  mother,  so  she 
had  to  be  very  harsh  and  stern 
with  the  parents,  and  with  the 
baby  too — because  you  have  to 
secure  the  happiness  of  those 
whom  you  love! 

The  jungle  trails  of  Africa 
resound  to  the  monotonous 
beat  of  the  drums  of  the  sav- 
ages and  a  white  woman  listens 
in  terror.  "DEVIL  MAGIC" 
is  a  story  .of  the  heart  of  a  girl 
whose  barbaric  nature  used  its 
own  crude  methods  to  tell 
again  the  most  beautiful  story 
in  the  world. 

Read  Real  Life  Stories  for 
November. 


D  

I — ^hotoplay  Ideas  Wanted— 

If  you  have  the  Screen  Idea,  plot, 
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play  you  need 
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We  copyright,  revise,  frankly  criticize  and 
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DIRECTORS 
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SCREENLAND 


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You  can  be  a  favorite  at  parties, 
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Free  Saxophone  Book— v  ery  interesting.  Tells  all 
about  the  various  Buescher  Saxophones,  with  pictures 
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you  may  be  interested.  (127) 

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Gentlemen : 

I  am  interested  in  the  instrument  checked  below: 

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(Mention  any  other  instrument  interested  in) 


Name  

Street  Address.. 
Town  


An  Answer  Page  of  Information 

Address:  Miss  Vee  Dee,  Screen  land,  145  West  57  th  Street,  N.  Y.C. 


Betty  Blythe  Fan.  So  you  really 
spoke  to  your  favorite  star!  Naturally 
you  think  she  is  just  wonderful.  Tre- 
mendously smart,  isn't  she?  You'll  be 
able  to  learn  all  about  her  past,  as  she 
has  just  published  her  biography,  which 
tells  of  her  career  as  dancer,  singer  and 
screen-star.  She  was  born  in  1893  in 
Los  Angeles  and  is  five  feet  seven. 
•  An&elo  Clifton.  Jetta  Goudal  claimed 
France  as  her  birthplace  when  she  first 
hove  on  the  film  horizon,  now  I  under- 
stand she  is  partial  to  Spain.  But  what 
are  a  couple  of  countries  between  friends? 
Anyhow  they  can  be  mighty  proud  of 
Jetta — without  any  seeming  effort  she  is 
one  of  the  best  bets  in  the  seductive  siren 
class.  Very  dark,  favoring  the  dead- white 
make-up,  with  vivid  red  lips  and  well- 
defined  brows,  she  dresses  in  a  most  in- 
dividual style  and  wherever  she  goes  is 
mi  coup  d'oeil — meaning  eye-full.  "Open 
Ail  Night,"  with  Viola  Dana  and  Adolphe 
Menjou,  is  her  newest. 

Rally-oh.  A  cutey-cute  manner  and  a 
pair  of  big  brown  eyes  work  over-time 
for  Madge  Bellamy.  She  has  just  signed 
a  new  contract  with  Associated  Arts  Cor- 
poration. Mae  Busch  is  an  Australian 
earning  her  "Bread"  with  Metro-Gold- 
wyn. 

Comedy-Al.  If  laughter  brings 
wrinkles,  Buster  Keaton  should  certainly 
have  a  skin  you  love  to  touch.  They 
have  two  children,  both  boys,  although 
every  one  insists  that  Natalie  Talmadge 
Keaton  should  have  a  daughter  to  carry 
on  the  Talmadge  traditions.  Mary  Carr 
is  in  "The  Mine  with  the  Iron  Door." 

Lister  May.  You  can't  corner  me  on 
"Cornered."  Madge  Kennedy  played  the 
heroine  on  the  stage,  but  Marie  Prevost 
does  it  in  pictures.  A  double  was  ob- 
tained, so  actually  this  is  not  a  double- 
exposure  film.  Madge  Kennedy's  latest 
is  "Three  Miles  Out,"  an  Emerson-Loos 
story.  "Classmates,"  the  new  Richard 
Barthelmess  picture,  was  originally  filmed 
in  1912.  Written  by  William  de  Mille, 
m'dear.  The  hero  in  the  first  "Class- 
mates" was  Henry  B.  Walthall — remem- 
ber him?  And  in  the  cast  were  such 
w.k's  as  Blanche  Sweet,  Marshall  Neilan, 
and  Lionel  Barrymore.  Some  cast. 
James  Kirkwood  directed.  The  Barthel- 
mess cast  has  Madge  Evans  as  leading 
lady.  Little  Madge  of  World  days  is  now 
all  grown-up  'n  seventeen. 

Lulu  Texas.  You're  another  of  the 
fans  who  never  misses  an  Elliott  Dexter 
picture.  Married  twice:  first  time  Marie 
Doro,  second  wife  a  Mrs.  Untermeyer  of 
New  York.    He  holds  the  record  of  hav- 


ing been  paid  the  highest  salary  of  any 
actor  in  pictures.  He  received  $750 
for  a  Sunday  morning's  work,  filming  a 
prologue  to  Boccaccio's  "Falcon." 

Raymond — Seattle.  Although  eulogies 
are  written  around  Lillian  Gish,  still  she 
never  seems  to  appeal  to  fans  as  do 
lesser  stars.  No  accounting  for  tastes 
when  First  National  reports  that  Strong- 
heart  receives  four  times  as  much  fan- 
mail  as  the  other  stars.  Lillian  off  screen 
is  much  prettier  than  on.  That  winsome 
ethereal  personality,  you  know. 

Tip  pity -witch.  Robert  Fraser  has 
come  into  his  own  this  year.  I  remem- 
ber meeting  Bob  Fraser  three  years  ago, 
filming  "As  A  Man  Lives"  at  the  old 
Talmadge  Studios  on  East  48th  Street. 
He  was  a  splendid  actor,  good-looking 
and  brilliant,  hoeing  a  hard  row.  Now 
Pola  Negri  considers  him  the  leading  man 
of  the  future,  and  Pola  should  know.  He 
is  married. 

Renee.  Glad  you  received  a  nice  pho- 
tograph of  your  favorite  Pauline  Garon. 
This  little  lady  is  a  French-Canadian. 
Very  vivacious,  very  dainty  and  quite  a 
good  little  showwoman  too. 

Old-timer.  You  certainly  are  loyal, 
would  that  all  fans  were  so.  You  will 
see  two  of  the  old-time  favorites  you 
mention  in  "Ben  Hur," — so  look  out  for 
Claire  McDowell  and  Francis  X.  Bush- 
man. Beverly  Bayne  has  just  signed  on 
the  good  old  line  with  Warner  Brothers. 
"The  Marriage  Vow"  is  a  recent  picture. 

Peggy-Maine.  Billie  Burke  seems  to 
prefer  the  spoken  to  the  silent  stage.  Re- 
ports have  it  that  her  husband,  Florenz 
Ziegfeld,  will  star  her  this  season  in  "An- 
nabelle."  Red-gold  hair,  bobbed  and 
wavy.  An  estate  at  Hastings-on-the-Hud- 
son,  a  charming  little  daughter,  and  many 
social  calls  all  make  lifc  a  busy  thing 
for  Billie.  "Miss  Vanity"  is  the  next 
Mary  Philbin  picture  and  you'll  see  hand-  * 
some  Norman  Kerry  and  Rosemary 
Theby  among  those  present. 

/.  A.  Dunlap — Jacksonville,  Fla.  Otto 
Liveright,  2  W.  43rd  Street,  New  York, 
and  Elizabeth  Onativia,  16  West  46th 
Street,  New  York,  are  two  out  of  many 
authors'  agents  who  will  place  stories. 
Norma  Talmadge  is  considered  the  best- 
dressed  actress  on  and  off — and  Con- 
way Tearle  is  one  of  the  best-turned- 
out  men.  His  salary  is  said  to  be  $2500 
per  week.  Figures  are  not  forthcoming 
as  to  dress  or  household  expenditure. 
You  can't  blame  them  if  they  don't  want 
the  world  and  his  wife  to  know  what 
beans  cost  them  a  can.  Norma  Tal- 
madge  spends   $50,000   a   year  on  her 


clothes  for  the  screen.  She  has  a  spe- 
cial designer,  and  forty  assistants.  After 
each  production  the  clothes  are  dyed  or 
altered,  or  style  changed  slightly,  and  then 
used  by  the  extras  in  future  pictures. 
Very  few  are  kept  by  Miss  Talmadge  for 
her  personal  use  off  the  screen.  Norma 
uses  only  powder  and  lip  stick  so  her 
bill  for  cosmetics  isn't  high,  but  her 
grease  paints  and  colored  powders  are  all 
imported  from  Germany  and  these 
amount  to  many  hundreds  of  dollars  a 
year.  Wigs,  specially  made  shoes  and 
authentic  copies  of  jewels,  run  into  an- 
other big  item. 

Rose  Berghorn  (N.  Y.) :  Casting  Direc- 
tors are,  like  their  cast,  of  a  changing  dis- 
position. Famous  Piayers-Lasky :  Long 
Island  City.  Fox:  19th  Ave.  and  55th 
Street,  N.  Y.  C.  International  Film  Co., 
(Cosmopolitan)  2nd  Ave.  and  127th 
Street,  N.  Y.  C.  D.  W.  Griffith:  Orienta 
Point,  Mamaroneck.  Distinctive:  807  E. 
175th  Street,  N.  Y.  C.  Vitagraph:  E. 
15th  Street  and  Locust  Ave.,  Brooklyn. 
No  charge,  thank  you,  Rose,  only  too 
pleased  to  help  you. 

Arabelle  (Nebraska)  :  You've  been  mis- 
informed about  Thomas  Meighan  being  a 
careless  dresser  in  private  life.  Quite  re- 
cently I  saw  the  good-looking  Tommy, 
and  he  was  just  the  snappiest  thing  you 
ever  saw  in  a  well-cut  navy-blue  suit, 
striped  tie,  and  grey  fedora.  He  plays 
in  "Tongues  of  Flame"  with  Bessie  Love. 
Bessie  has  come  East  especially  for  this 
picture.  Understand  Meighan's  nephew 
Eddie  Sunderland  is  to  be  behind  the 
megaphone. 

Marguerite  Holland.  There  are  always 
two  sides  to  every  story,  and  the  other 
side  is  that  Rudolph  Valentino  was  in  the 
midst  of  dressing  when  the  well-known 
press-agent  came  to  see  him.  As  the 
press-agent  was  not  alone,  naturally  Rudy 
referred  him  to  Mrs.  Valentino.  In  any 
case  Mrs.  Valentino  is  Rudolph's  business 
manager  and  endeavors  to  take  all  unnec- 
essary details  off  his  shoulders.  Ask  the 
men  around  the  studio  about  Rudy.  From 
grip  to  production  manager,  they'll  an- 
swer: "A  regular  guy!" 

A.  V.  R.,  Illinois.  To  Lillian  Gish  goes 
credit  for  finding  Ronald  Colman.  Miss 
Gish  had  him  in  ''White  Sister"  and  again 
in  "Romola."  soon  to  be  released.  Ron- 
ald now  parks  his  car  outside  Samuel 
Goldwyn's  studios,  and  expects  to  continue 
doing  so  for  the  next  five  years.  Un- 
derstand he  is  to  do  'The  Worldings" 
with  Alice  Terry. 

Ella  Rainer  (Maine.)  Douglas  Fair- 
banks, Jr.,  vied  with  the  Prince  of  Wales 
in  popularity,  this  fall.  Douglas,  Jr.,  was 
a  guest  at  the  Indian  Harbor  Yacht  Club, 
Greenwich,  Conn.  The  Prince  came  to 
the  landing  stage  and  passed  away  unno- 
ticed, the  fair  young  things  all  being  so 
busy  mobbing  the  handsome  son  of  the 
Thief  of  Bagdad. 


SCREENLAND 

$31,500 
offered  for 


in  prizes 
new  stories 


/TAGAZINE  publishers  and  motion 
|\/n  picture  producers  are  to-day  en- 
XT  JL  gaged  in  one  of  the  greatest  and 
most  romantic  quests  in  literary  history. 
They  are  searching  for  new  authors  who 
can  satisfy  the  age-old  craving  of  the  race 
to  be  told  a  story  that  is  gripping  and  new. 
Fifteen  thousand  motion  picture  theatres  in 
this  country  alone  must  be  continually 
supplied  with  fresh  stories.  Thousands  of 
publications  read  by  millions  of  people  of 
all  types  and  classes  must  present  new 
fiction  every  issue.  To  meet  this  demand, 
new  writers  must  be  found. 

In  their  search  for  new  authors,  publishers 
and  producers  have  inaugurated  a  number 
of  notable  story  con- 
tests offering  big 
cash  awards.  In 
fact,  such  contests 
are  being  launched 
continually  in  the 
search  f®r  new  au- 
thors. They  are 
more  than  contests. 
They  are  quests. 

Unusual  offer 

by  Harper's 

In  the  short  story 
f  i  e  1  d  ,  Harper's 
Magazine  is  offering 
310,000  in  prizes  in 
a  series  of  four 
contests  lasting 
throughout  the  cur- 
rent year.  The 
Forum  in  another 
contest  offers  a  prize 

of  31000  for  the  best  story  of  3000  to  5000 
words. 

Other  similar  contests  are  numerous,  the 
prizes  amounting  to  large  sums  in  the 
aggregate.  Two  standing  offers  are  worthy 
of  special  mention:  the  Famous  Piayers- 
Lasky  annual  prize  of  310,000  for  the  best 
photoplay,  and  the  310,000  fund  set  aside 
by  the  publishers  of  Action  Stories  and 
Novelets  for  bare  story  plots.  Doubleday, 
Page  &  Co.  are  offering  3500  in  prizes  for 
scenarios  featuring  O.  Henry  stories. 

For  more  than  six  years  the  Palmer  In- 
stitute of  Authorship  has  been  co-operating 
with  magazine  editors  and  motion  picture 
producers  in  the  search  for  and  the  develop- 
ment of  new  .writers.  Some  of  the  best 
known  authors,  dramatists  and  motion  pic- 
ture producers  have  given  the  movement 
their  enthusiastic  support.  Results  have 
exceeded  all  expectations. 

$10,000  for  one  story 

Miss  Winifred  Kimball,  a  Palmer  student 
living  in  Apalachicola,  Florida,  won  the 
310,000  prize  offered  by  the  Chicago  Daily 
News  in  the  scenario  contest  conducted  in 
collaboration  with  the  Goldwyn  Pictures 
Corporation. 

Mrs.  Anna  Blake  Mezquida,  another 
Palmer  student,,  won  the  second  prize  of 
31000,  and  seven  3500  prizes  were  also  won 
by  Palmer  students. 

In  another  contest,  A.  Earle  Kauffman 
won  a  31500  prize  with  a  scenario  headed 
"The  Leopard  Lily."  Another  student, 
Miss  Euphrasie  Molle,  sold  her  first  story, 
"The  Violets  of  Yesteryear,"  to  Hobart 
Bosworth.  Louis  Victor  Eytinge  wrote 
"The  Man  Under  Cover"  while  in  prison, 
and  we  sold  it  for  him  to  the  Universal 
Pictures  Corporation. 


Members  of  the  Advisory  Council 
FREDERICK  PALMER 

Author  and  Educator 
CLAYTON  HAMILTON 
Author,  Dramatist,  Educator 
(Formerly  of  the  Faculty  Columbia  University) 
ROB  WAGNER 
Author  and  Motion  Picture  Director 
RUSSELL  DOUBLEDAY 
Publisher 
JAMES  R.  QUIRK 
Editor  and  Publisher  Photoplay  Magazine 
C.  GARDNER  SULLIVAN 
Screen  Writer  and  Director 

BRIAN  HOOKER 
Author,  Dramatist,  Critic 
FREDERIC  TABER  COOPER 
Author,  Educator,  Critic 
(Formerly  of  the  Faculty 
Columbia  and  New  York  Universities) 


"Judgment  of  the  Storm"  was  written 
by  a  Pittsburgh  housewife  and  "The  White 
Sin"  by  a  salesman — both  Palmer  stu- 
dents. These  two  pictures  were  pur- 
chased and  produced  by  the  Palmer  Photo- 
play Corporation,  and  are  now  appearing  in 
motion  picture  theatres  throughout  the 
country.  Each  author  received  31000  in 
advance  of  the  production  of  the  pictures  and 
will  share  in  the  profits  on  a  royalty  basis. 

Other  Palmer  students  have  met  with 
similar  success.  James  Leo  Mcehan,  who 
is  now  Gene  Stratton  Porter's  director,  sold 
two  stories  the  first  year.  Elizabeth  Thachcr 
sold  her  first  story  to  Thomas  H.  I  nee. 
Mrs.  Frances  White  Elijah  won  a  32500 
prize  for  her  story, 
"The  One  Man  Wo- 
man," and  we  sold 
her  earlier  screen 
story  "Wagered 
Love,"  to  D.  W. 
Griffith.  Our  Story 
Sales  Department 
has  sold  two  stories 
for  Winsor  Josselyn 
so  far  this  year. 

Well-known 

writers 
to  help  you 

The  success  of  Pal- 
mer students  is  due 
mainly  to  the  fact 
that  the  course  is  in- 
tenselypractical  ;you 
study  right  at  home 
in  spare  time  under 
the  personal  direc- 
tionof  men  who  are  themselves  well-known  au- 
thors, dramatists  and  motion  picture  writers. 

You  learn  to  write  by  writing.  You  are 
given  the  manuscript  and  continuity  of 
famous  motion  picture  scenarios  to  analyze 
and  study.  You  write  actual  stories  and 
motion  picture  scenarios  which  we  help  you 
to  sell  through  our  Story  Sales  Department 
right  here  in  Hollywood,  with  representa- 
tives in  New  York  and  Chicago. 

WRITE  FOR  THIS  FREE  BOOK 
"The  New  Road  to  Authorship" 

It  tells  all  about  the  Palmer  Institute's  eystematic, 
step-by-step  method  of  teaching  Short  Story  Writine. 
Photoplaj'  -  Writing  and  Dra- 
matic Criticism — gives  full  de- 
tails of  the  success  of  Palmer 
students  and  describes  the 
Palmer  Scholarship  Foundation, 
which  gives  ambitious  men  and 
women  the  opportunity  to  get 
the  complete  course  free  by 
providing  fifty  scholarships  an- 
nually. Just  mail  the  coupon 
printed  below  and  we'll  send 
you  this  book — "The  New 
Road  to  Authorship" — free  by 
return  mail. 

Palmer  Institute  of  Authorship 
Affiliated  with  Palmer  Photoplay  Corporation 
Dept.  22-L,  Palmer  Bldg.  Hollywood,  Calif. 

Please  send  me,  without  cost  or  obligation,  a  copy 
of  your  book,  "The  New  Road  to  Authorship,"  and 
full  details  of  the  Palmer  Scholarship  Foundation* 
I  am  most  interested  in 

□  Short  Story  Writing     □  Photoplay  Writing 

□  Dramatic  Criticism 

□  English  Composition   □  Business  Letter  Writing 


Name. 


Address  

All  correspondence  strictly  confidential 


SCREENLAND 


Its  delicious 
and  good- 
youll  find 
the  regular 
use  of 
that  flavory 
Beemans 

'a  smsiSie 
hah  ii 99 


AMERICAN  CHICLE  CO. 


Isham  Jones  S3 
one  of  the  many 
popular  Btars 
who  use  and  en- 
dorse the  Cono 
xophone. 


Isham  Jones,  the  famous  soloist  and  orchestra  leader,  has 
made  a  fortune  with  his  Conn  saxophone.  You  can  learn 
to  play  a  Conn  quickly  and  easily.  Then  great  oppor- 
tunities for  pleasure  and  profit  are  open  to  you. 
Conn  saxophones,  used  by  the  most  famous  stars,  rec- 
ognized as  supreme  in  tone,  tune  and  easy  playing 
qualities,  may  be  had  on  Free  Trial;  Easy  Payment  plan. 
Write  for  catalog  and  details. 

C.  G.  CONN,  Ltd.,  1034  Conn  BIdg.,  Elkhart,  Ind. 


How  Many  Pounds  Would  You 

? 


WHAT  HAPPENED 
in  the  MOVIES 

Ten  Years  Ago 

Resurrected  Bjy  Gayne  Dexter 


If  you  are  thin  and  scrawny  and  would  like  to  gain 
weight,  I  will  send,  you  a  samnle  of  the  genuine 
Hilton's  Yitamines  absolutely  FREE.  Do  not  send 
any  monoy — just  your  name  and  address  to  W  \V 
Hilton,  189  Gateway  Station,    Kansas  City,  Mo. 


Mary  PickfOrd  made  a  personal  ap- 
pearance at  the  Stanley  Theatre, 
Philadelphia,  where  her  picture  Behind 
the  Scenes  was  playing,  and  a  newspaper 
reported:  "Although  Miss  Pickford  has 
just  signed  a  contract  for  $1,000  a  week, 
she  was  so  simply  dressed  that  a  stenog- 
rapher remarked,  'She  makes  more  in  a 
week  than  I  do  in  a  year.  •  But  just 
look!  I'm  more  dressed  up  than  she  is. 
Can  you  beat  it?'  " 

(H-m-m-m!  I  wonder  how  far  clothes 
carried  that  stenographer,  though.) 

Little  Lord  Fauntleroy  was  produced 
with  an  unknown  child-player  in  the  title 
role. 

(Always  thought  Rabelais  wrote  that 
as  an  original  for  Mary.  Don't  history 
learn  ya  lots?) 

Paul  Panzer,  prime  prevailing  villain, 
secured  exemption  from  war-service  with 
the  German  army. 

"Oh  well,  The  Perils  of  Pauline  were 
perils  enough  for  any  man." 

William  S.  Hart  scored  a  smashing  hit 
in  The  Bargain. 

(Remembering  which,  I  forgive  him 
"Singer  Jim  McKee.") 

Maryland  Motion  Picture  Exhibitors 
League  banned  a  South  Baltimore  thea- 
tre for  charging  two  cents  admission; 
while  in  Milwaukee,  Tom  Sake,  manager 
of  the  Saxe  Amusements,  predicted  that 
some  day  we'd  pay  two  dollars  a  seat. 

(We  do — but  some  of  the  movies  make 
me  think  that  that  two-cent  showman 
had  the  right  idea.) 

Two  stars  transferred  from  stage  to 
screen:  Marie  Doro  to  make  The  Morals 
of  Marcus;  Olga  Petrova  to  play  The 
Tigress. 

(Today:  Back  Home — but  far  from 
Broke!) 

Advts — Animated  Songs.  Nothing  me- 
chanical. No  phonograph  records.  Mo- 
tion^ pictures  that  follow  the  rhythm  of 
the  films. 

("In — the — shay — dov — the — ole — dap 
— pul — tree.") 

Charles  Chaplin,  Marie  Dressier  and 
Mabel  Normand  in  the  world's  greatest 
comedy,  six  bursting  reels,  Tillie's  Punc- 
tured Romance!!!!! 

(Born:  New  York,  a  few  months  later, 


to  Mr.  and  Mrs.  John  Coogan— a  son.) 

Lionel  Barrymore  starred  in  The  Span 
of  Life,  while  John  Barrymore  did  like- 
wise in  The  Man  From  Mexico. 

(Barrymores?  Barrymores?  Never 
heard  of  them.) 

Thomas  H.  Ince  finished  his  contract 
with  Miller  Brothers,  purveyors  of  horse- 
flesh and  humanity  from  the  great  open 
spaces  for  movie-westerns,  and  bought 
fifty  cow-boys,  twenty-four  Indians  and 
cne  hundred  and  fifty  broncs  of  his  own. 

(Was  Tom  Mix  the  sheriff  who  kept 
that  outfit  in  order?) 

Mrs.  Thos.  Whiff  en,  "the  grand  old  lady 
of  the  dramatic  stage,"  starred  in  Hearts 
and  Flowers. 

(Which  settles  the  first-famous-mother 
argument.) 

John  Bunny  and  Flora  Finch  presented 
Bunny's  Little  Brother;  Lillian  and  Doro- 
thy Gish  were  sistering  in  The  Sisters; 
Famous  Players  purchased  the  screen 
rights  of  The  Old  Homestead— no,  not 
for  Theodore  Roberts,  whose  cigar  waved 
proudly  in  The  Circus  Man  just  then. 
America  labored  through  The  Million  Dol- 
lar Mystery — or  was  it  Mysery?  World 
Films  engaged  Lillian  Russell  for  Wild- 
fire; Carlyle  Blackwell  starred  in  The 
Man  Who  Couldn't  Lose — oh!  couldn't 
he;  Sid  Chaplin  reported  to  Mack  Sen- 
nett's  Keystone  studio  for  his  first  screen 
work;  Frank  Lloyd,  of  Sea  Hawk  fame, 
was  made  a  director  by  Universal,  while 
Marshall  Neilan  became  director-manager 
of  Kalem's  Hollywood  studio;  The  Eter- 
nal City  was  announced  for  Pauline  Fred- 
erick; Cabiria  entered  the  sixth  month  of 
its  Broadway  season;  George  Beban,  hav- 
ing been  injured  in  an  automobile  acci- 
dent, was  insured  by  Thomas  H.  Ince 
for  $25,000 — and  you  can't  kill  an  extra 
for  that  today;  D.  W.  Griffith  refused  to 
divulge  the  title  of  his  new  three-reeler 
with  Mae  Marsh,  Bobby  Harron  and 
Miriam  Cooper — yea,  the  same  yester- 
day, today  and  forever;  Wallace  Reid  co- 
starred  with  Blanche  Sweet  in  Another 
Chance  and  Famous  Players  was  all  ex- 
cited over  hiring!  twelve  hundred  extras 
for  one  production — merely  twelve  hun- 
dred.   I  guess  that  far  back  press-agents 
hadn't  learned  to  count. 


D.  W.  Griffith  completed  The  Birth 
of  a  Nation. 

{But  "The  Birth  of  a  Nation"  isn't 
done  yet!) 

Charlie  Chaplin  signed  his  first  star- 
ring contract — with  Essanay. 

{And  Ben  Tnrpin  cashed  in  on  his 
East-West  eyes.) 

Francis  X.  Bushman  and  Beverly 
Bayne  reached  New  York  to  make 
George  Barr  McCutcheon's  "Graustark." 

{The  girls  who  rushed  to  see  Francis 
X.  must  feel  pretty  old  to  hear  his 
son,  Ralph  Bushman,  is  contemplat- 
ing matrimony  now.) 

The  Thanhouser  Company  insured 
Marguerite  Snow's  life  for  $150,000. 

{But  Thanhouser  died  first.) 

William  Farnum  starred  in  "The  Sign 
of  the  Cross"  for  Paramount,  which  in- 
troduced the  first,  but  not  the  last,  bac- 
chanalian revels  of  Ancient  Rome. 

{Oh  yes,  Cecil  De  Mille  was  on  the 
lot  in  those  days,  too.) 

Theda  Bara  debutted  in  "A  Fool  There 
Was,"  and  one  reviewer  stated  ".  .  . 
The  story  ends  with  the  man  dead  on  the 
floor  while  the  vampire  kneels  by  him 
gloating  and  smiling.  Aside  from  the 
fact  that  it  will  do  the  very  young  little 
good,  and  perhaps  harm,  to  witness  the 
film,  it  is  exceedingly  excellent." 

{Don't  you  love  those  happy  end- 
ings?) 

Lasky  signed  Blanche  Sweet  as  a  star 
to  do  "The  Warrens  of  Virginia"  .  .  . 
Beatrix  Mischelena  produced  "Mrs. 
Wiggs  of  the  Cabbage  Patch."  .  .  . 
Dorothy  Gish,  after  being  run  down  by 
an  automobile,  was  pronounced  out  of 
danger.  .  .  "Should  a  Woman 
Divorce?"  put  problem-plays  on  the  map, 
and  by  the  way,  what's  become  of  prob- 
lem plays?  .  .  .  Famous  Players 
purchased  "Bella  Donna"  for  Pauline 
Frederick  and  two  $4,000,000  corpora- 
tions were  formed — proving  that  the  in- 
fant industry  was  learning  more  than 
its  A.  B.  C. 

{End  of  December  1914.  The  man- 
agement craves  your  indulgence  for 
another  month  while  the  operator 
changes  the  reels.) 


There  will  be  a  special  feature  in 
SCREENLAND  for  December  consist- 
ing of  Christmas  Greeting  cards  from 
the  stars  of  the  motion  picture  world 
to  their  friends,  the  fans. 

There  is  no  star  whose  heart  does 
not  turn  to  his  appreciative  movie  pat- 
rons with  gratitude  at  all  seasons  of 
the  year  and  at  this  Christmas  time,  they 
have  taken  advantage  of  the  columns 
of  SCREENLAND  to  express  their  very 
sincere  feelings. 


SCREENLAND 

$10.00 
fir  a  Letter 


SCREENLAND  believes  in  the  movies 
and  the  influence  on  American  life  which 
is  exerted  by  the  screen.  It  is  a  good 
influence.  It  is  an  influence  which  en- 
courages men  to  work  and  discourages 
villainy. 

It  may  be  there  are  still  villains  in  the 
world  whose  lives  do  not  run  parallel  to 
the  courses  of  the  screen  villains,  but 
have  a  care— we  will  get  you  yet! 

Are  you  influenced  by  the  movies? 

Do  you  reach  over  and  pat  the  old 
wife's  hand  when  you  see  an  incident  on 
the  screen  which  touches  your  own  life? 

Or,  if  you  are  of  the  flapper  age,  do 
you  relax  the  vigilance  for  a  second  to 
his  advantage? 


s 


CREENLAND 

offers  $10.00  for  the  best 
letter  on  the  following 
theme:  "How  I  was  in- 
fluenced by  the  screen." 


The  prize  for  last  month's  letter  was 
awarded  to  Walter  C.  Sweeten,  109  South 
Sixth  Street,  Reading,  Pa. 


Editor  Scrcenlavd: 

Every  American  should  see  this  stupendous  and 
wonderful  production,  "The  Covered  Wagon."  It 
makes  one  think  more  of  this  great  and  glorious 
country  of  ours,  .and  of  those  pioneers  who  en- 
dured so  much  hardship  and  suffering  to  build 
it  up;  and  it  makes  one  more  proud  to  be  a 
descendant  of  such  remarkable  and  sturdy  types 
of  American  manhood  and  womanhood. 

Practically  all  of  the  passions  are  depicted. 
Ar.d  the  picture  abounds  with  comedy  and  dra- 
matic situations.  Greater  than  all  of  these  is 
the  massiveness  of  the  production  itself — the 
number  of  people  therein,  the  vast  amount  of 
effects,  horses,  cattle,  buffalo,  etc.  But  even 
greater  is  the  historic  value  of  the  picture  which 
will  do  more  to  educate  the  school-going  popu- 
lation than  weeks  of  study  with  books. 

(Signed)    WALTER  C.  SWEETEN. 


10  MONTHS  TO  PAY 

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11  WARREN  ST 


BE  AN  AD-WRITER 


Young  Lady,  Young  Man,  you  know  some  one 
thing  well.  No  matter  what  it  may  be.  that 
knowledge  can  be  made  the  foundation  ot  your 
career  in  the  Advertising  Field.  What  is  your 
favorite  "line" — Music,  Sports,  Books,  Animals. 
Farming  the  Arts  and  Sciences,  Automobiles,  or 
any  kind  of  Merchandise  or  Service?  Whatever 
it  is  you  KNOW  WELL,  you  can  learn  how  to 
write  advertisements  about  it  at  home  by  our 
method.  Ad-writers  earn  huge  salaries,  or  work 
at  home  for  various  firms,  with  pay  ">„^'^lT<*- 
Write  for  free  advice  to  Dept.  175,  AD\  ERTIb- 
1NG  INSTITUTE.  Prairie  and  Morht  Aves., 
St.  Louis,  Mo.  


Spare  time.  Addressing  and  mailing, 
Music, Circulars. No  experience  re<tuired 
SendlO<  For  Music  and  information 
American  Music  Publishing  Co., 
1658  Broadway -Dept.    X-12         N«~ Vo.-KCIty 


SCREENLAND 


.  .  Luri&fiuaii  w  ten  mJuxutiA  to 

w  an  t 


<xni  cicr  1 .  .  .  litre  '-d  urk 


7 LIE  on  my  buck  .  .  spread 
out  my  arms  and  feet  .  .  let 
my  shoulders  sink  into  soft  cush- 
ions .  .  smooth  some  Pasteurized 
Face  Cream  on  my  throat  and 
face  .  .  close  my  eyes  and  "let 
go"  .  .  and  call  to  memory, 
well,  perhaps  Lake  Como  .  . 
or  the  music  of  violins  .  .  any- 
thing beautiful 


You^ll  find  my  way  more  com- 
forting than  an  hour  of  just 
resting  in  a  chair. 
For  ifs  the  Pasteur- 
ized Cream  that  so 
beautifully  induces 
relaxation  .  .  so 
luxurious  is  it,  so  velvety 
smooth  .  .  there"* 
about  it. 


VALAZE 
PASTEURIZED 
FACE  CREAM 


s  a  caress 


„  VALAZE 
^STEURIZED 

r  Cleansing. MauW 
v"tf  Nourishing 


cream  we  used  to  eat  with  those 
wonderful  big  English  straw- 
berries .  .  and  so  pure  and  as 
fresh  too!  .  .  lovely  for  a 
child' }s  skin  ! 

Can  you  wonder  that  if  s  the 
deepest  satisfaction  of  my  life 
that  I  can  to-day  offer  the 
pleasure  of  my  Pasteurized 
Cream  to  every  woman  every- 
where /;;,'.  ..'  .  for  until  last  year 
I  could  ?nake  only  enough  for  a 
few  women  and  only 
for  women  who  could 
feel  justified  in  pay- 
ing ten  dollars  a  jar 
.  .  .  even  though 
they  were  getting  the  most 
wonderful  cream  in  the 
world. 


Let's  open  this  jar  and  But  to-day!  .  .  .  why,  to- 

look  at  it  .  .  ifs  deep  cream-  day,  with  the  laboratories  I  built 
color  like  Devon  shire  clotted    on  purpose  .  .just  think,  a  dollar! 


BOSTON,  MASS. 

234  Boylston  St. 

Chicago,  III. 

30  N.  Michigan  Ave. 

NEWARK,  N.  J. 

951  Broad  St. 


At  leading  stores  or  direct  from 


NEW  YORK  CITY 

46  West  57th  Street 
HOLLYWOOD,  GAL.,  1780  Highland  Avenue 


Detroit,  Mich. 

1540Washington  Blvd. 

PARIS 

126  Rue  du  Faubg.  St.,  Honore 

LONDON 

24  Grafton  St.,  W  I 


AN  I 


*£  COMEDIANS  NUMBER  X*- 


Ben  Lyon 


<\Ben  Lyon  served  his  ap- 
prenticeship in  many  pic- 
tures :  Flaming  Youth, 
Painted  People  and  so  on. 
It  is  no  inexperienced 
claimant  to  the  throne  <who 
stands  before  you  demand- 
ing his  due.  His  latest  pic- 
ture, "Lily  of  the  Dust,"  is 
an  achievement.  SCREEN- 
LAND  salutes  you,  Ben 
Lyon!  There  is  none  bet- 
ter on  the  screen. 


Photograph  by  George    P.  Hommel. 


The  Latest 'Hews  of  The  Movie  World 

r  has  happened  again !  As  we  go  to  press  the  whole  movie  world 
is  adjusting  itself  to  the  new  arrivals  in  the  Movie  Hall  of 
Fame.  How  inspiring  these  successes  are !  When  it  seems  that 
the  set  is  complete  with  all  the  heroes,  heroines,  precocious  children 
and  bathing  beauties  required,  some  one  comes  along  and  waltzes 
right  in,  a  new  laurel  wreath  is  won,  and  a  new  bank  account  begun. 

Even  now  there  is  yet  another  for  whom  the  doors  are  swinging 
open.  This  fact,  so  conspicuous  in  the  movie  world,  is  none  the  less 
true  in  every  one  of  the  many  worlds  of  human  endeavor. 


« 


(\Betty  and  h  e  r 
family.  Betty  has 
shown  each  one  of  them  that 
they  are  made'  of  the  stuff 
of  which  greatness  is  fashioned. 


Good  Luck,  Betty 

GLIVho  should  play  Peter  Pan?  SCREE  N- 
LAND  has  printed  paragraphs  without 
number  in  recent  issues  over  this  per- 
plexing problem.  And  after  it  was  all 
settled  and  Betty  Bronson  was  selected, 
we  were  filled  again  with  enthusiasm  for 
the  wonderful  opportunities  offered  by 
the  movies.  It  is  the  favorite  art  of  the 
Gods.  Fortune  smiles  upon  it.  The  play- 
ers are  loved  by  the  earth's  millions,  and 
even  staid  magazine  editors  become  en-, 
ihusiastic  when  youth  and  beauty  win 
into  their  own. 


C[Betty  Bronson  and  (on  the  train)  her  director, 
Herbert  Brenon,  and  also  Mr.  Willis  Gold- 
beck.    "This  train  leaves  for  Fame  and  For- 
tune," says  her  director.    "I  know,"  says  Betty, 
"For  I  believe  in  fairies." 


<\Mrs.  N.  R.  Bronson,  mother  of 
Betty,  who  is  very  enthusias- 
tic about  Sir  James  Barrie's 
judgment. 


10 


o  7      ,        _/.    O  *  an^ at  breakfast  lime,  and 

OfOOt   Clt    oUtlTtSCj    photographed  for  lunch. 


Q  And  they  called  it  "The  Garden  of  Weeds!"  On  the  la<wn  of  the  Craze  estate.  Left  to  right: 
first,  King  Zany;  fourth  and  fifth,  William  Austin  and  Charles  Ogle;  eighth,  Rorkhfie. 
Felloves;  extreme  right,  Lilyan  T ashman. 


,  4 


(\Shooting  scenes  for  HugoBallin's  production,  "The  Prairie  Wife,"  for  Metro-Goldivyn-Mayer. 
Herbert  Raivlinson,  Frances  Frimm  and  Dorothy  Devore  are  in  the  background. 


0aire  Windsor 

Note  the  gentle  beauty  of  the  lips,  the  pleading 
expression  that  makes  an  irresistible  appeal 


Photograph  by  Edwin  Bower  Hesser 

■^Anna  Q.  ISfylsson 

Do  you  know  R.S.V.P.  eyes  when  yon 
see  them?    The  fans  have  accepted. 


"Dorothy  ^Mackaill 

If  the  perfect  oval  of  her  face  were  not  in  itself  sufficient,  Dorothy 
has  a  wistful  charm  which  set:  a  standard  of  loveliness. 


14 


Co  m  e  -J3  a  c  k 

By  Myron  T^obel 


^  ]|  ^WO  motion  pictures  came  quietly  into  town  and  without  fanfare  of  trum- 
pets took  their  places  in  two  theaters  whose  clientele  are  about  as  hard 
-i-L      to  please  as  any  motion  picture  audiences  in  the  world. 

Captain  Blood  took  the  screen  at  the  legitimate  theater,  the  Astor,  which 
The  Sea  Hawk  had  just  vacated.  The  wise  boys  in  the  picture  world  would  have 
said  that  that  meant  suicide — following  one  Sabatini  blood-and-thunder  picture 
with  another. 

The  Clean  H eart  followed  such  plays  as  Manhandled  and  The  Covered 
Wagon.  It  brought  no  sensational  star;  it  bore  the  name  of  a  director  who  has 
been  looked  on  rather  tolerantly  as  a  has-been. 

Both  pictures  bore  the  Vitagraph  stamp.  That  in  itself  would  have  damned 
them  for  Broadway  if — • 

But  the  if  was  there — a  glorious,  sure-fire  if,  which  has  set  all  Broadway 
talking.  Vitagraph  has  come  back.  For  twenty-seven  years  pictures  have  borne 
the  Vitagraph  imprint.  When  pictures  were  still  a  novelty  and  a  nickel,  Vitagraph 
meant  quality.  In  later  years,  it  meant  clean,  stalwart  pictures,  the  best  of  their 
kind.  Then,  somehow,  Vitagraph's  .life  blood  trickled  away.  No  one  knew  just 
why.  Its  stars  left  it.  Alice  Joyce  held  on  until  she  almost  died  in  harness; 
Corinne  Griffith  fought  bravely  to  hold  up  the  honorable  old  banner.  Vitagraph 
seemed  to  be  breathing  its  last.  Not  that  there  weren't  some  good  Vitagraph  pic- 
tures; but  they  were  not  the  stuff  to  fill  the  best  houses  on  Broadway,  New  York, 
or  Broadway  in  Seattle,  Los  Angeles  or  Chicago. 

Then  quietly,  almost  stealthily,  Captain  Blood  took  possession  of  the  Astor 
screen  and  aroused  the  enthusiasm  of  the  New  York  critics.  It  has  been  voted 
one  of  the  finest  costume  dramas  of  picture  history. 

Even  more  quietly,  unostentatiously,  came  The  Clean  Heart,  a  picture  so 
finely  directed,  so  clean,  so  splendid,  so  high-hearted,  so  entertaining,  so  faithful  to 
the  excellent  novel  from  which  it  was  taken,  that  critics  found  themselves  unable 
to  find  a  flaw  in  it.  Hence  we  have  the  unusual  denouement  of  two  Vitagraph  pic- 
tures winning  the  most  extravagant  praise  of  the  month — a  month  which  brings 
Gecil  De  Mille's  Feet  of  Clay  and  James  Cruze's  Merton  of  the  Movies. 

In  casting  Captain  Blood,  Vitagraph  did  not  go  afield  for  new  talent.  Albert 
E.  Smith,  head  of  Vitagraph,  chose  his  brother,  David  Smith,  to  direct.  He  starred 
J.  Warren  Kerrigan,  an  old-time  Vitagraph  star,  who  has  been  doing  some  come- 
back stunts  on  his  own  latelv;  and  as  leading  lady  he  chose  his  pretty,  demure 
wife,  lean  Paige,  also  a  former  Vitagraph  star.  It  is  Vitagraph  through  and 
through — and  it's  great!  Captain  Blood  may  well  mean  "new  blood"  for 
Vitagraph. 

The  director  of  The  Clean  Heart  is  J.  Stuart  Blackton,  one  of  the  founders  of 
the  Vitagraph  company.  And  starring"  is  Percy  Marmont.  famous  long  ago  as 
leading  man  for  the  Vitagraph  star,  Alice  Jovce. 

We  can't  help  feeling  mighty  glad  about  it  all— and  a  little  sentimental. 


0[  Years  ago,  Bebe  Dan- 
iels and  Harold  Lloyd 
made  short  comedies. 
They  were  only  on  the 
bottom  step  then  but 
they  kept  climbing. 


WAY 


(XWhat  Harold  Lloyd  thinks  is  fun 
is  a  revelation  of  the  real  Harold 
that  is  inside  the  comedy  player.  He 
is  different  from  all  other  comedians. 
There  is  about  him  a  lovable  quality 
that  makes  your  heart  laugh  too. 

By  "Delight  Evans 


IT  WAS  a  winter's  day,  and  ive  two  were  battling  the  ele- 
ments.   We  strove  in  the  face  of  the  biting  wind  to 
surmount  a  particularly  scarifying  snow-drift.   We  did  a 
flying  leap  across  ice  and  landed — in  the  middle  of  the 
snowdrift. 

It  was  in  Times  Square,  New  York. 

Now,  of  all  places  I  would  ordinarily  pick  to  fall  into  a  pile 
of  very  wet  and  cold  snow,  Times  Square  is  probably  the  last. 
But,  as  it  happens,  I  was  all  too  happy  to  be  in  intimate  contact 


PHOTOGRAPHS  ARE 
BY  GENE  KORNMAN. 


(\In  "Grandma's  Boy"  Harold  Lloyd  gave  Dick 
Sutherland  a  chance  and  then  helped  him  as 
ivell. 


16 


Harold  Lloyd  PLAYS 


Q  Can  you  imagine  any  on,'  as  rich  as 
Croesus,  and  as  famous  as  T.  R., 
being  as  modest  as  a  violet?  That's 
Harold  Lloyd. 


(\"Girl  S/iy"  needed  a  charac- 
ter actor  and  Harold  //ad  fun 
making  a  successful  screen 
player  out  of  Richard  Daniels, 
father  of  Micky  Daniels. 


with  that  snowdrift  at  Forty-second  Street  and  Broadway. 
I  was  glad,  nay.  proud  to  be  there.  I  lifted  my  head  from 
its  pillow  of  snow  and  surveyed  the  scene  with  a  complacent 
smile.    For  my  companion  was  Harold  Lloyd. 

He,  too,  rose  from  his  icy  bed.  He  looked  at  me  and 
grinned.  ''Too  bad,"  he  said,  "that  there  wasn't  a  camera 
to  catch  this." 

That  was  precisely  what  I  had  been  thinking.  That  was 
why  I  had  glanced  about  gaily.    I  wanted  to  be  seen. 

But  of  all  the  spectators  not  one  stopped  to  contemplate 
us  with  the  awe  and  interest  which  our  position,  and  par- 
ticularly Mr.  Harold  Lloyd's  position,  merited,  even  de- 
manded. Because — and  it  took  a  long,  long  time  for  the 
thought  to  thaw — they  didn't  know  who  he  was.  and  they 
didn't  care. 

Just  a  nice  looking  boy  in  a  fuzzy  brown  over-coat  and 
a  derby  and  black  patent-leather  shoes.  A  boy  with  a 
friendly  grin  assisting  a  girl  from  a  snow-drift. 

Unlike  his  companion-in-icicles,  Harold  was  delighted  to 
have  escaped  detection.  He  told  me  it  was  very  seldom 
that  he  was  recognized;  and  that  fact  afforded  him  a  great 
deal  of  satisfaction. 

The  other  day  Harold  came  to  New  York  again.  And 
the  Harold  of  today  is  just  about  ten  times  as  popular, 
rich,  famous,  successful,  and  acclaimed  as  the  Harold  of 
two  years  ago.     Harold  has  had  his  own  company  and 


produced  feature-length  comedies  with 
real  success.  He  has  married,  built  his 
bride  a  costly  California  dove-cote,  and 
received  congratulations  on  the  latest  ad- 
dition to  the  immediate  family.  Harold 
is  today  a  great  man. 

It  was  in  a  hotel  dining  room.     I  was 
facing  a  friend  of  Harold's.    '  Tell  me."  1 
began,  ''has  he  changed  much?" 

The'  friend  smiled  in  the  general  direction  of  the  door- 
way. I  looked.  At  a  nice  looking  boy  with  a  shy  smile 
hurrying  into  the  room.  A,  waiter  elbowed  him  uncere- 
moniously; a  hungry  group  pushed  him  aside.  He  came 
forward  unconcernedly.  "Well,  hello,"  he  said.  And  I 
knew,  somehow,  that  he  hadn't  changed  at  all. 

"I  suppose  you're  having  a  real  vacation?"  I  asked. 
'•Yes — but  I'll  be  darned  glad  to  get  home  again.  My 
mother  is  here  with  me,  you  know,  and  we  are  seeing  all 
the  shows.  My  staff  is  here,  too,  and  we're  packing  in  all 
the  impressions  we  can  get.  I'll  be  glad  to  get  back  to 
work." 

The  same  white  shirt  and  the  same  plain  black  scarf. 
Luncheon  at  the  Ritz.  perhaps,  but  all  the  time  watching 
the  people  and  pasting  them  in  the  Lloyd  album.  His 
world  changes,  but  he  doesn't.  Golf — other  celebrities — 
banquets — but  theyre  not  his  idea  of  fun,  really.  What 
is?  Well  

,ut  there  in  his  studio  they  call  him  "Speedy."  Just 
about  everybody,  from  his  directors  to  the  prop  boys. 
And  everybody  swears  by  him. 

When  a  star  is  popular  around  his  own  lot  there's  a  good 
reason  for  it.  And  every  one  of  the  glad  good-morning 
faces  which  greet  Harold  Lloyd  when  he  reports  at  his  cellu- 


SCREENLAND 


loid  factor}'  is  an  honest-to-goodness  smile.  They  all  like 
him.  He's  not  a  little  tin  god  to  them.  And  he  shows  as 
much  speed  for  them  as  for  himself. 

With  a  few  exceptions  his  company  has  remained  intact 
longer  than  any  film  staff  on  record.  It's  been  a  great 
training  school,  and  it's  turned  out  some  promising  pupils. 
Turned  them  out,  sometimes,  only  because  they  had  better 
offers  at  bigger  salaries. 

There  was  Bebe  Daniels,  now  engaged  in  heavy  dramatics 
at  many  times  the  old  money.  But  Bebe  won  her  first  at- 
tention as  "The  Girl"  in  the  old  "Lonesome  Luke"  one- 
reelers.  Bebe  left  to  appear  in  full-length  pictures  long 
before  it  occurred  to  the  public  to  demand  Harold  Lloyd 
in  six  reels  and  shell-rimmed  specs. 

It  was  up  to  Harold  to  discover  a  new  leading  lady. 
Mildred  Davis  was  her  name.  You  all  know  the  rest  of 
that  plot.  And  now  along  comes  the  latest  lady  to  share 
Harold's  close-ups.     She  was  in  one-reel  comedies  when 


<\But,  after  all,  it's  a 
heavy  responsibility. 
Harold  finds  Jobyna 
Ralston  on  his  hands  in 
"Hot  Water." 

Q  A  n  n  a  Toivnsend  as 
"Grandma"  ivith  her 
"Boy"  noiv  has  more 
friends  than  there  are 
dollars  in  the  mint  and 
she  thanks  Harold. 


ClJohn  Aasen,  the  giant 
in  "Why  Worry"  Har- 
old Lloyd  made  so  fa- 
mous thai  he  has  earned 
a  gigantic  salary  ever 
since. 


<\Gee,  it's  great 
when  she 
loves  you  and 
your  heart  is 
light  as  air — 


Harold  saw  her.  .  No- 
body had  prophesied 
that  the  little  Ralston 
would  knock  them  cold 
or  anything  like  that. 
And  Harold  himself 
wasn't  sure  of  it  at 
first.  But  after  looking 
at  an  awful  lot  of  girls 
he  decided  that  Jobyna 
had  something  just  a 
little  different  from  the 
rest.  He  had  thought 
that  about  Mildred, 
and  he  was  right.  And 
events  have  proved  that 
he's  right  again. 
Jobyna's  first  pictures 
practically  settled  it; 
but  further  work  has  justified  the  star's  judgment  splendidly. 

But  he's  right  about  other  people,  not  only  leading  ladies. 
He  picked  two  men  to  work  together  in  the  direction 
of  his  comedies.  It's  the  only  case  I've  ever  heard  of — 
that  worked — of  two  men  harmonizing  for  four  years  in  a 
directorial  capacity.  Fred  Neumeyer  has  been  with  Lloyd 
longest,  I  believe.  Harold's  mother  and  Fred's  mother  were 
girlhood  friends  back  in  Central  City,  Colorado.  Fred  be- 
came a  baseball  player  with  the  Philadelphia  Athletics. 
Harold  became  an  actor.  They  kept  in  touch.  Today  Fred 
supervises  the  action,  helps  along  the  laughs,  suggests  "busi- 
ness." 


When  Harold  Lloyd  decided  10  branch  out 
and  produce  for  himself,  many  heads  were  shaken 
and  dour  looks  exchanged  by  those  professedly 
"in  the  know."  "An  actor  can't  be  a  business 
man,  too,"  was  the  general  judgment  of  the  wise 
ones.  "Watch  him  flop.  Lookit  what  happened 
to  Charlie  Ray!"  Harold  kept  his  counsel — he 
also  hired  his  uncle,  William  R.  Fraser,  formerly 
in  the  U.  S.  forestry  service,  to  be  his  general 
manager.  More  heads  were  shaken.  As  a  re- 
sult, the  Lloyd  comedies  and  company  have  made 
more  money  than  they  ever  did. 
And  consider  the  others.  There  is  Dick  Sutherland,  a 
comparatively  unknown  gentleman  whose  face  is  his  fortune 
—but  Dick  didn't  know  it  until  Harold  Lloyd  pointed  out 
the  fact  and  engaged  him  to  be  the  bully  in  "Grandma's 
Boy."  Now  you'll  see  the  somewhat  horrifying  Sutherland 
countenance  portraying  a  tough  here,  a  thug  "there,  in  a 
million  movies.  Thank  Harold  for  that.  And  recall  the. 
delightful  old  uncle  of  "Girl  Shy,"  another  Lloyd  discovery. 
Richard  Daniels  happens  to  be  the  father  of  Micky  Dan- 
iels— the  freckled-faced  kid  who,  incidentally,  Harold  also 
helped  into  fame.  The  newest  Lloyd  festival  employs 
Josephine  Crowell  as  a  man-eating  mother-in-law.  "Hot 
Water"  happens  to  be  one  of  those  domestic  affairs.  Lloyd 
remembered  Miss  Crowell  as  the  magnificent  Catherine  de 
Medici  of  Griffith's  "Intolerance,"  and  he  sent  for  her.  Also 
in  "Hot  Water"  is  a  youngster  named  Micky  McBan  who, 
Harold  thinks,  is  going  to  be  worth  his  weight  in  gold  to 
his  parents  before  very  long. 

But  helping  other  people  is  only  one  of  the  things  Lloyd 
enjoys.  Harold  loves  to  go  to  the  circus.  He  is  always 
there  when  they're  putting  up  the  tents.  He  never  misses 
a  circus  show.  So  when  he  wanted  a  giant  for  "Why 
Worry?"  he  knew  just  where  to  send  for  the  best-known 
circus  giant.  But  just  as  he  was  about  to  leave  for  Cali- 
fornia, the  giant  died.  Lloyd  scoured  the  country  for  a 
giant.  Then,  from  Minot,  North  Dakota,  came  word  of 
an  exceedingly  tall  gent,  John  Aasen.  Lloyd  trained  him 
for  "Why  Worry?"  Mr.  Aasen,  you  see,  was  not  an  actor 
by  profession;  he  had  to  be  taught.  And  it  is,  perhaps, 
not  easy  to  instruct  eight  inexperienced  feet  of  manhood 
in  the  dramatic  art.  It  was  done,  in  time,  and  with  pa- 
tience, for  Lloyd  is  an  enthusiastic  teacher. 


C[.Mi.  and  Mrs.  Harold  Lloyd 
and    Mildred    Gloria  Lloyd. 
Harold  tuas  "Girl  Shy"  once 
'  hut  he  isn't  any  'more. 


And  there  are  such  gentlemen  as 
Ted  Wilde  and  Tim  Whelan,  who 
spend  all  their  waking  moments 
thinking  up  new  ways  for  Harold 
to  be  funny.  Tim's  wife  is  Judy 
King,  who  was  the  cunning  flapper 
in  the  imaginative  episodes  of  "Girl 
Shy.''  Thomas  Grey  is  another 
humorist  who  has  been  on  the  Lloyd 
staff.  Harold's  "gag  men"  and  his 
film  editor,  Allen  McNeil,  accom- 
panied him  on  this  latest  trip  to 
New  York  in  search  of  new  ma- 
terial.   They're  always  after  it. 

But  in  case  all  this  hasn't  meant 
a  thing  ta  you,  by  way  of  making 
you  believe  that  "Speedy"  is  a 
pretty  good  fellow,  I'll  let  you  in 
on  something  else. 

Four  years  ago  Harold  was  no 
keener  about  personal  publicity 
than  he  is  today.  It's  one  of  the 
world's  worst  jobs  to  get  him  to 
pose  for  any  kind  of  a  still  picture. 
But  four  years  ago  they  told  him  it 
just  had  to  be  done.  The  publicity 
department  had  to  have  pictures  for 
the  papers.  Harold  consented.  He 
appeared  punctually  at  the  photo- 
graphic studio  on  a  Sunday.  They 
decided  that  he  should  make  some 
funny  stuff  lighting  a  cigarette  from 
a  property  bomb.  He  laughed, 
lighted  the  bomb,  and  prepared  to 
"hold  it."'    And  that  was  when  the 

world  came  dangerously  near  losing  a  darn  good  comedian. 

The  bomb  wasn't  a  property  bomb;  it  was  a  real- one.  A 
careless  employee  at  the  studio  had  stuck  it  in  among  the 
property  bombs,  and  they  all  looked  alike.  Harold  was 
in  the  hospital  for  days;  his  sight  was  almost  despaired 
of.  His  suffering  was  dreadful.  For  four  days  a  doctor 
picked  powder  out  of  his  eyes.    He  recovered.    And  then 


they  came  to  him.  "What  shall  we  do  about  it,  Harold?" 
they  asked  him.  "It  was  criminal  carelessness.  You  might 
have  been  killed,  or  blinded." 

Harold  thought  a  minute.  "Oh,  let  it  go.  I'm  sure  it 
won't  happen  again.    Besides,  I'm  all  right  now." 

The  employee  kept  his  job. 

That's  Harold  Lloyd's  idea  of  fun. 


Q  Harold  (/tabs  the 
flyer  as  he  waves 
farewell.  But  de- 
spondency over- 
takes him. 


10 


\ 


Up  from  Comedy 


By  Grace  Y^tngsley 


QT 'he  jester  in  the  olden  days 
was  the  smartest  of  all  the 
subjects  of  the  king,  and  to- 
day the  girls  who  made  good 
on  the  comedy  lots  ride  the 
kingdom  of  the  screen. 


IF  YOU  are  a  girl,  you  probably  look  at  the  comedy 
girls  on  the  screen  and  sigh  with  envy.    But  if  you 
are  thinking  of  going  into  the  film  comedies,  you'd 
better  stop,  look  and  listen — and  then  go  in  for  some- 
thing easy,  like  working  in  a  laundry! 

A  few  of  the  girls,  by  reason  of  superior  brains,  beauty, 
personality  and  opportunity,  have  risen.  Nine-tenths  re- 
main submerged. 

A  comedy  girl  gets  little  pay — and  must  be  on  the  job 
twenty-four  hours  a  day  if  needed. 

She  must  be  able  to  do  wild  stunts — drive  a  runaway 
automobile,  swim  like  a  professional,  climb  the  side  of  a 
building,  kid  a  lion  in  his  cage,  or  fall  off  a  cliff. 

Sick  or  well,  a  comedy  girl  must  be  on  hand  for  what- 
ever is  required  of  her.  You  hear  about  the  few  who'  have 
risen.  You  don't  hear  of  the  scores  who  lead  a  hand-to- 
mouth  existence,  doing  bathing  girl  stunts  when  required, 
filling  in  as  extras,  dropping  out  to  obtain  steady  work,  or — 
worst  of  all— are  injured. 

Bebe  Daniels  took  to  wild  riding  naturally,  and  when 
her  mother  upbraided  her  she  only  grinned  mischievously. 

Bebe  and  hep  mother  used  to  live  in  a  cottage  near  the 
Sennett  studio.  Mrs.  Daniels  had  given  up  her  career  as 
a  Shakespearean  actress  and  had  accepted  a  secretarial  po- 
sition in  Carlyle  BlackwelPs  studio,  in  order  to  put  Bebe  in 
school. 

Bebe  was  fourteen  the  day  she  dressed  her  prettiest, 
practiced  an  alluring  smile  before  the  mirror — "I  tried  to 
look  like  Clara  Kimball  Young,"  she  explained— and  walked 
into  Hal  Roach's  office.  She  got  a  job.  Just  a  little  extra 
work,  for  a  few  days.  Then  she  was  put  to  playing  bits 
20 


(\Bebe  Daniels  in 
her  latest  play. 
"Dangerous 
Money."  Ye  s  , 
Bebe  knows  how 
to  fight.  That's 
why  she  is  now 
a  star. 


and  small  parts,  and  soon  was  Harold 
Lloyd's  leading  lady. 

There  were  debts  to  be  paid3  and 
Bebe  paid  them.  They  still  *ved  in 
the  cottage. 

"But  mother  didn't  have  to  svork 
any  more,"  explained  Bebe.  £JThen 
one  day  I  suddenly  realized  that  if  I  liked  I  could  have  my 
heart's  desire— a  car  and  a  fur  coat!"  said  Bebe. 

She  worked  hard  to  earn  her  promotion.  She  was  always 
studying  the  players  around  her,  or  talking  to  Lleyd  about 
acting,  or  getting  the  directors  to  tell  her- their  ideas.  She 
was  not  only  willing  but  anxious  to  go  through  a  scene 
any  number  of  times  until  it  was  perfect,  and  no  matter 
how  difficult  or  dangerous  a  stunt  was,  she  never  refused 
to  do  it. 

And  she  did  many  difficult  and  dangerous  stunts.  She 
stood  on  the  edge  of  high  buildings,  as  in  "High  and  Dizzy;" 
she  swam  and  battled  and  drove  runaway  automobiles.' 


SCREENLAND 


21 


Mae  busch  was  in  her  dressing  room  at  the  Orpheum 
theater  in  Los  Angeles.  She  was  in  vaudeville,  in  a 
tabloid  musical  comedy,  and  was  one  of  the  loveliest  girls 
I  had  ever  seen.  She  said  she  was  going  to  stop  off  and  go 
into  pictures  in  Hollywood.    She  was  all  pep  and  sparkle. 

Months  later  I  met  her  in  front  of  the  Sennett  Studio. 
She  looked  pale  and  ill,  and  said  she  had  been  in  the  hos- 
pital for  two  months.  She  lived  in  one  room  and  wore 
shabby  clothes,  but  she  still  had  the  old  spirit.  She  wasn't 
to  be  beaten.  She  was  doing  some  doubling  at  the  Sennett 
studio,  as  she  was  an  athlete.  She  hoped  to  get  into  come- 
dies, but  things  seemed  rather  slow  and  she  wondered  if 
she  hadn't  better  get  back  to  Australia,  her  native  land. 

She  was  radiant  next  time  I  saw  her.  -She  was  working 
in  the  Sennett  comedies.  Mabel  Normand  had  helped  her. 
She  was  getting  $40  a  week,  and  had  moved  to  a  sweet 
little  bungalow. 

I  went  to  the  Sennett  Studio  one  day.  Mae  was  ill 
again. 

-  Unhappy,  far  from  well,  Mae  began  the  dreary  round  of 
the  studios. 

She  met  Eric  von  Stroheim  one  day  at  Universal  City. 
She  had  known  him  in  the  days  before  Carl  Laemmle  rec- 
ognized in  him  a  great  director. 

"We  talked  together  a  lot  one  day  when  we  were  both 
playing  small  parts;'  said  Mae.  "I  never  saw  him  again 
until  that  day  at  Universal  City.  He  recognized  me  at 
once.  He  was  to  make  a  picture  called  'The  Devil's  Pass 
Key,'  and  thought  that  I  would  do  for  one  of  the  principal 
parts. 

"My  money  was  low.  In  fact,  it  was  so  low  that  I 
hadn't  any.    And  my  marriage  had  gone  on  the  rocks." 

In  short,  there  were  times  when,  Mae  said,  if  the  Los 
Angeles  River  had  been  deep  enough,  she  would  almost 
have  made  a  date  with  it.  But  not  quite.  She  still  had 
that  brave  spark  of  courage  which  enabled  her  to  laugh 
when  others  wept.  She-  wanted  to  send  money  to  rela- 
tives in  Australia,  and  here  she  couldn't  even  support  her- 
self ! 

So  Eric  von  Stroheim  was 
a  god-send.  She  took  a 
screen  test,  completely  de- 
lighted the  director,  and 
played  the  role  which  set 
her  on  her  way  to  fortune. 

Miss  Busch  played  in 
"Foolish  Wives/*  and  well- 
nigh  stole  the  picture.  Then 
she  did  some  other  dramatic 
parts,  and  as  Glory  Quayle 
in  "The  Christian,"  she 
again  made  a  hit. 

Five  pretty  girls  stood  in 
a  row,  ready  to  flop  into 
the  water,  out  at  the  Sen- 
nett Studio  one  day.  Gloria 
Swanson  was  one  of  them. 


She  lived  in  a  tiny  apartment,  and  did  some  of  her  own 
sewing  and  cooking  and  mending.  But  she  was  destined 
to  rise.    She  had  brains  and  personality. 

Next  time  I  caught  sight  of  Gloria  she  was  already  on 
her  way.  Men  were  always  quite  wild  about  her.  Women 
perhaps  didn't  like  her  quite  so  well.  She  was  working 
at  the  Triangle  Studios.  Next  time  1  saw  her  she  was 
waiting  to  see  Cecil  de  Mille.    You  know  the  rest. 

I first  met  Betty  Compson  at  a  party,  when  she  was 
leading  lady  in  the  Christie  comedies.  She  wore  a 
simple,  pretty,  inexpensive  little  white  dress  such  as  any 
middle  class  high  school  girl  might  have  worn.  She  had 
no  car.  At  that  time  she  lived  in  a  tiny  bungalow  with 
her  mother.  She  was  almost  too  tired  to  come  to  the 
party,  because  she  had  been  doing  horseback  riding  stunts 
all  day;  when  she  got  home  she  found  her  mother  sewing 
on  her  dress,  so  she  had  to  help  a  little  with  the  house 
work. 

Betty  struggled  with  the  rent  and  the  grocery  bills.  Her 
mother  made  over  her  dresses,  and  many  a  time  she  stayed 
away  from  parties  because  she  hadn't  the  right  clothes  to 
wear.  Sometimes  there  were  amusing  little  make-shifts, 
as  when  she  borrowed  another  girl's  party  dress,  but  had 
to  be  at  home  by  11  o'clock,  because  the  owner  wanted 
to  go  to  a  picture  preview  and  supper,  held  at  12  o'clock 
at  night.  One  week  she  and  her  mother  went  without 
dainties  for  seven  days  so  that  Betty  could  "buy  a  new  pair 
of  slippers. 

Betty  finally  left  the  comedies  to  do  a  dramatic  part 
with  William  Desmond  in  a  Jesse  D.  Hampton  picture. 

"I  had  been  horseback 
riding  all  day  in  the  hot  sun, 
feeling  all  fed  up  on  pic- 
tures and  thinking  I'd  bet- 
ter go  back  to  my  violin, 
and  was  ready  to  go  to  bed, 

when  I  heard  the  telephone  d'Mae    Busch    was  a 

ring.   George  Loane  Tucker  double    for  dangerous 

stunts  once.  Now  she's 
landed  safely. 


0 


(\DorotIiy  Deuorc 
used  to  risk  her 
neclt  in  comedies 
so  1101x1  she  can 
hang  pearls  on 
it. 


Q.  Betty  Compson  used  to  swim 
about  with  Christie  Comedies. 
Now  she  has  a  "Cruze"  of 
her  own. 


(\Gloria  Swanson 
went  into  the 
water  once  as  a 
bat/dng  girl  and 
she  swam  into 
our  hen — as  they 
say  about  stars. 


was  calling.  'I  saw  your  pictures  today  at  an  agency,  and 
want  you  for  a  picture.  Come  down  to  the  Athletic  Club 
and  dine  with  me  tonight.'  I  tried  to  get  out  of  it — didn't 
care  a  hang  what  kind  of  part  it  was,  I  was  so  tired: — but 
I  finally  consented.  It  was  that  wonderful  part  in  'The 
Miracle  Man'!" 

The  other  day  I  lunched  with  Betty.  We  stepped  into 
her  Rolls  Royce  at  the  Lasky  studio,  and  were  driven  by 
her  Japanese  chauffeur  to  a  great,  beautiful  house,  with  its 
lovely  gardens,  on  Hollywood  Boulevard  far  out  where 
the  clangor  of  street  cars  does  not  disturb  one.  A  large 
brick  house  stands  amidst  its  grounds  next  door.  That 
belongs  to  Betty,  too.  Betty  is  to  be  married  soon  to 
James  Cruze. 

"I  vowed  once,  when  I  saw  mother  working  for  me,  that 
I  would  never  marry  until  I  could  give  her  her  own  home 
and  income.   I've  kept  my.  word,"  said  Betty. 

TX/TTarie  prevost  sparkled  formerly  in  Sennett  comedies. 

-li-  She  did  dangerous  stunts  in  those  days,  including 
wire  walking  and  high  diving. 

"It  is  really  a  lot  of  fun,"  she  always  said. 

She  just  wouldn't  be  sorry  for  herseif.  She  lived  with 
her  family,  had  little  money,  and  she  and  her  sister,  Peggy, 
made  her  clothes.    But  it  was  all  just  fun. 

But  she  got  her  chance  with  Universal. 

It  was  discovered  then  that  Marie  could  emote,  and 
emote  she  did.  That  brought  another  wonderful  contract, 
this  time  with  Warner  Brothers. 

"This  emotional  work  is  heaps  harder,"  said  Marie  the 
other  day,  "than  merely  riding  wild  automobiles  and  jump- 
ing off  things!  But  it  is  wonderful  work,  too,  and  it  is 
nice  to  have  the  money!" 

22 


A drab,  pathetic  little  figure,  for  all  the  light  of 
humor  in  her  big  eyes,  was  Dorothy  Devore, 
the  day  I  met  her  at  the  Christie  studio.    She  had 
taken  rather  a  bad  fall,  the  day  before,  making 
scenes  in  "Hold  Your  Breath,"  and  today  she  was 
scheduled  to  do  a  wild  motor-cycle  ride. 
"Why,"  I  asked,  "don't  you  have  a  double?" 
"Well,  it's  like  this,"  explained  Dorothy.  "I'm 
so  tiny  that  only  a  little  boy  can  double  for  me, 
and  I  don't  like  to  think  of  a  child's  being  hurt. 
So  I  mostly  take  all  the  chances  myself.    One  little 
boy  was  rather  badly  hurt  doubling  for  me,  and  I 
can't  bear  to  think  of  a  youngster  like  that  taking  chances 
that  I  myself  won't  take.    But  I'm  losing  my  nerve.  I've 
got  to  quit  comedies." 

So  she  refused  to  sign  up  again  for  comedies  with  Christie. 
Dorothy's  salary  hadn't  been  very  large,  and  she  hadn't 
saved  much.  She  went  on  the  stage  in  a  musical  comedy 
which  was  a  fliv,  and  then  she  did  nothing  for  several 
weeks.  But  always  she  had  faith  in  herself  as  a  dramatic 
actress. 

One  day  she  met  a  director  from  the  Goldwyn  company. 
He  seemed  to  have/  faith  in  her.  He  asked  her  if  she 
thought  she  could  play  a  certain  part  in  a  picture  he  was 
to  make. 

"I  don't  know,"  she  said,  but  added  eagerly,  "Oh,  let  me 
try!" 


Q 


Louise 

1  a  zenda, 
still  in  the 
c  o  m  edies 
of  which 
she  rules 
as  queen. 
Why  abdi- 
cate a  per- 
fectly good 
throne  ? 


Q_In  the  Sennett  days  Marie 
Prevost  did  every  job  given 
her  in  perfect  s/iape — so  now 
in  "The  Lover  of  CamjllcJ' 
she  is  the  lady  of  the  camel- 
lias. 


He  gave  her  a  chance,  and  I  met  chat 
director  the  first  day  she  worked  ioi  him. 

"I  believe  she's  doing  awfully  well."  he 
said.  "I  think  I  have  a  find.  But  I  want 
to  see  the  rushes." 

I  asked  if  I  might  sit  in  on  the  rushes. 
We  were  all  a  little  breathless.  I  guess. 
Dorothy  made  her  entrance  in  the  film — 
and  what  work  she  did! 

"I  can  do  it,"  she  said  simply.  "I  can 
make  'em  cry,  too!"  . 

Now  the  Warner  Brothers  have  signed 
Dorothy  on  a  long-term  contract. 


(\PIiyllis  Haver  whose  eyes,  the  most  beautiful  gray 
eyes  on  the  screen,  will  next  be  seen  in  ''The 
Snob." 


01  Marie  Prevost  showing  the  under- 
pinning on  which  she  built  her  suc- 
cess. 


Louise  Fazenda' makes  a  very  big  salary  now.  but  she 
has  as  yet  to  attain  to  the  great  heights  which  her  abilities 
should  command.  And  she  is  no  longer  the  awkward  high 
school  girl,  who  traded  on  her  awkwardness  in  pictures.  She 
is  a  very  good  looking,  and  most  interesting  and  fascinating 
young  lady.  Some  day  when  the  picture  stories  match 
up  with  her  brains,  she  is  going  to  be  a  dramatic  sensation 
in  the  films.    Or  else  she  will  find  her  niche  on  the  stage. 

Until  recently,  Louise  lived  with  her  parents  in  an  un- 
pretentious little  frame  house  in  Los  Angeles.  I  believe 
she  has  recently  purchased  a  new  home,  however. 

Phyllis  Haver  is  the  enigma  of  enigmas.  She  did  such 
marvelous  work  in  "The  Christian"  that  we  thought  she 
would  go  right  on  up  in  dramatic  roles.  What  has  side- 
tracked her  nobody  knows.  It  certainly  isn't  lack  of 
talent,  nor  lack  of  beauty. 

But  I  think  she  will  see  her  name  in  electrics  yet. — 
a  tribute  to  real  earnestness,  ambition  and  ability  of 
another  apparently  frivolous  comedy  girl. 

23 


i 


harlie 


ie  ^haplins 


By  Jim  Tully 


HARLIE  CHAPLIN'S  next  picture  will  be  a  story  of  laughter 
and  tears  and  of  hope  deferred.  It  will  be  blended  with  the 
naive  avarice  of  a  lonely  stranger  in  search  of  gold  in  the  biting 
blizzards  of  the  north.  It  will  be  Chaplin  at  the  topmost  peak  of 
his  dazzling  career.  His  work  in  this  picture  will  place  him  secure  as  the 
greatest  pantomimist  of  all  recorded  time.  It  is  the  story  of  the  Alaskan 
gold  rush  interwoven  with  all  the  jabbings  of  fate  that  can  well  come  to 
one  who  is  typical  of  the  entire  human  race — in  almost  reaching  the  goal — 
and  watching  its  shadow  disappear — with  the  pained  expression  that  only  a 
Chaplin  can  wear.  It  will  be  crowned  with  the  majesty  of  enterprise— 
and  the  futility  of  it. 

The  famous  "Chilkoot  Pass,"  the  gateway  to  the  Alaska  gold  fields  of 
1898,  has  been  duplicated  by  Chaplin.  An  exact  replica  of  the  original 
pass  has  been  built  on  a 
mountainside.  The  rugged 
camps  of  the  pioneers  are  pic- 
tured, cluttering  at  the  base  of 
frozen  cliffs.  To  make  the 
pass  a  pathway  thousands  of 
feet  long  was  cut  through  the 
snows  of  the  far  northern 
boundaries.  It  wound  through 
a  narrow  defile  to  the  top  of 
the  mountain,  and  it  was  only 
made  possible  because  of  the 
drifts  of  eternal  snow  against 
tne  mountainside. 


(\Charlic  Chaplin 
as  a  Sourdough. 


Q  Charlie  Chaplin's  next 
picture  depicts  the  Gold 
Rush  of  the  Yukon. 
Thousands  of  men  were 
recruited  when  the  rush 
was  staffed  and,  thouffh 
they  were  hobos  and 
tramps,  they  all  knew 
and  loved  Charlie. 


,1 


24 


QCharlie  Chaplin  finch 
in  the  Alaskan  gold 
rush  his  greatest  oppor- 
tunity for  comedy. 

of  them  all.  It  would  be  the  red- 
letter  day  in  their  lives — the  day  they 
went  over  Chilkoot  Pass  with  Charlie 
Chaplin. 

A  more  rugged  and  picturesque 
gathering  of  men  could  hardly  be  im- 
agined. They  arrived  at  the  impro- 
vised scene  of  Chilkoot  Pass  in  a 
special  train — and  what  is  more — a 
special  train  of  dining  cars  went  ahead 
of  them.  It  was  thought  best  to  keep 
the  diners  in  full  view  of  the  derelicts. 

To  have  seen  them  going  through 
the  "scene"  was  a  study  in  the  fine 
qualities  of  human  nature — that  re- 
sponded to  Chaplin  as  if  by  magic. 
These  wasted  men  trudged  through 
the  heavy  snows  of  the  narrow  pass 
just  as  if  gold  were  actually  to  be 
their  reward — and  not  just  a  day's 
pay  in  what  is  beyond  doubt  the 
world's  greatest  comedy. 

The  comedian  himself  played  the 
role  of  Director-General.  He  was 
here,  there,  and  everywhere,  giving 
instructions,  leading  the  men,  and  on 
occasion  mixing  with  them  through-' 
out  the  day.  It  was  possibly  the  most 
successfully  handled  mob  scene  ever 


The  exact  location  of  the  feat  was  accomplished  in  a 
narrow  basin  formation.  A  trail,  nine  miles  long,  was 
blazed  through  the  immense  fir  forest,  and  all  the  para- 
phernalia was  hauled  from  the  nearest  railroad  station. 

The  filming  of  the  hundreds  of  men  going  through  Chil- 
koot Pass  is  equal,  if  not  superior,  to  any  'mob  scene'  ever 
pictured  on  the  screen. 

Special  agents  of  the  railroad  were  asked  to  round  up 
more  than  a  thousand  men  for  this  scene.  In  two  days  the 
great  gathering  of  derelicts  had  assembled.  They  gathered 
with  their  blankets  on  their  backs,  the  frayed  wanderers  of 
the  western  nation.  It  was  beggary  on  a  holiday.  ^  hat 
mattered  it  if  it  were  only  a  few  days  work?  They  were  to 
be  seen  in  a  picture  with  Chaplin — the  mightiest  vagabond 


Q_Lita  Grey. 


assembled  before  a  movie  camera.  This  episode  of  Chilkoot 
Pass  will  bewilder  and  cLarm  the  most  blase  movie  fan. 

Intense  realism  depicts  the  hardships  endured  by  the 
ru^ed  pioneers  who  scaled  the  mountains  which  blocked 
thefr  progress  into  what  was  the  valley  of  gold  for  some— 


and 
others. 

Chaplin,  in  his  world-famous 
characterization  —  the  vagabond 
with  the  baggy  trousers  and  the 

big  shoes,  the  trick  hat  and  the  swagger  little  cane,  the  de- 
tachable and  vari-colored  tie  and  the  frayed  white  collar- 
was  never  seen  to  better  advantage. 

Here  was  an  audience  of  a  thousand  hoboes — and  in  their 
midst  was  a  man  whose  appeal  is  so  universal  that  the 
vagrants  claimed  him  as  their  own.  He  was  a  blood  brother 
of  misfortune  and  not  a  millionaire  with  a  mansion  on  a  hill. 
Could  any  man's  art  be  given  a  higher  tribute? 

Several  of  us  accompanied  Chaplin  as  he  left  the  hotel  on 
the  edge  of  the  mountain.  The  men  stood  on  each  side  of 
the  narrow  snow-covered  road  as  we  passed  them  in  a  large 
sleigh. 

Chaplin,  the  little  hat  jauntily  on  his  curly  black  hair,  and 
the  little  mustache  in  place,  held  the  scarf  about  his  neck. 
As  we  passed  the  men,  mighty  shouts  went  up  and  echoed 
over  the  green  and  white  forests,  "Hello,  Charlo!  Hello 
Charlie!    Good  luck,  Old  Boy!" 

As  the  sleigh  hurried  on  through  the  woods  and  the  echo 
of  the  shouting  died  away,  I  said,  "You  see,  Charlie,  those 
men  know  you.  You  speak  in  their  language.  They  under- 
stand.  You  are  a  vagrant  at  heart,  as  they  are." 

"Yes,"  replied  the  little  comedian,  "but  I'd  rather  be  me 
than  them." 

And  yet,  in  his  role  of  the  hard  iuck  sourdough  in  this 
Alaska  picture,  Chaplin  presents  the  biography  of  a  life 
with  complete  understanding  and  sympathy.  And  while  the 
pathos  and  suffering  of  the  characters  are  converted  into 
laughter,  there  is  linked  to  the  picture  a  chain  of  circum- 
stantial tragedy  that  is  relieved  by  the  great  comedian's 
ribald  mastery  of  pantomine  and  comedy. 

All  of  the  spectacular  scenes  are  filmed  in  keeping  with  the 
Alaskan  atmosphere. 

Scenes  of  great  magnitude  are  also  built  at  the  Chaplin 
Studios  in  Hollywood.  A  reproduction  of  the  main  section 
of  Nome  in  '98  is  erected  there  with  a  background  of 
mountains. 

This  comedy-drama-tragedy  of  the  Alaska  gold  rush  is 
Chaplin's  greatest  picture  for  two  reasons  ...  it  rep- 
resents Chaplin's  intellectual  and  artistic  growth  fresh  from 
a  year  in  directing  "A  Woman  of  Paris"— and  secondly— it 
runs  the  entire  gamut  of  human  emotions— the  blended 
panorama  of  life  .  .  .the  subtle  and  vital  essence  of 
26 


0[  Charlie  Chaplin's  voice 
is  husky  ivith  emotion 
but  the  dog  is  plain 
husky. 


it — the  defeat  and  the  victory  and  the 
growth  of  a  soul  in  struggle. 

And  of  course,  while  this  picture 
will  be  spectacular  from  a  scenic  and 
technical  standpoint,  it  will  be  far 
more  humorous  than  any  picture 
which  preceded  it.  It  is  as  if  Chaplin 
were  a  writer,  and  all  his  other  pic- 
tures were  but  short  tales  in  com- 
parison with  this  full  length  and 
vividly  written  novel. 

And  through  all  the  picture  Chap- 
lin has  not  forgotten  the  children. 
There  is  a  tenderness  in  the  great 
comedian  for  the  children  of  the  na- 
tions. They  were  his  first  admirers, 
and  well  he  knows  it.  It  was  their 
response  that  led  him  on  to  fame 
and  fortune.  And  always,  in  the 
making  of  comedy,  he  considers  them. 
The  picture  being  on  a  vaster  scale, 
it  gives  him  greater  opportunity  for  a  wider  range  of  comic 
pantomime. 

So  much  has  been  said  of  Chaplin's  genius  and  of  his  early 
discovery.  It  may  not  come  amiss  to  write  here  for 
Screenland,  as  from  one  who  has  been  close  to  him,  some- 
thing concerning  his  discovery. 

As  a  matter  of  absolute  fact— Charlie  Chaplin  was  dis- 
covered by  the  little  children  of  all  the  world.  He  was  not 
broke  when  he  entered  pictures — a  lad  of  twenty  or  so.  In- 
stead, he  had  several  thousand  dollars— a  considerable  sum 
for  a  young  actor.  Besides,  he  had  been  well-known  in 
England  as  a  juvenile  comedian  for  several  years.  It  is 
well  to  bear  in  mind  that  he  was  recognized  by  shrewd 
theatrical  men  at  that  early  age. 

Another  fact,  not  generally  known  by  but  a  few  people: 
Chaplin  was  the  biggest  man  on  the  comedy  lot  from  the  day 
he  made  his  first  picture.  Mack  Swain,  the  giant  comedian, 
now  working  with  Chaplin  in  the  present  picture,  was  one 
of  the  first  men  to  appear  with  Chaplin  in  that  seemingly 
long-ago  period.  It  is  from  no  less  an  authority  than  Swain 
that  Chaplin,  from  the  very  first  day,  divined  and  went 
beyond  what  was  expected  of  him.  Within  a  short  time  from 
his  entry  into  pictures,  the  directors  complained  to  the 
powers-that-be  that  Chaplin  wanted  his  own  way,  and  would 
not  "take  direction."  It  was  great  talent  trying  to  assert 
itself— to  climb  out  of  the  embryo  into  the  uniform  of  the 
greatest  actor  in  the  world.  Chaplin  would  not  be  stan- 
dardized. He  was  conscious  of  ability  in  his  soul,  as  great 
talent  ever  is.  He  fought  to  wear  the  baggy  trousers  and  the 
battered  hat.  The  children  soon  greeted  him  as  the  un- 
crowned King  of  Laughter.  And  within  eighteen  months  he 
was  world-famous  and  earning  a  million  a  year.  No  man 
"discovered"  him  at  all.  He  first  discovered  himself,  and  the 
children  of  the  nations  responded.  The  highbrows  came 
later — as  they  always  do — trailing  behind  them— their 
second-hand  approval. 

Before  this,  Chaplin  was  always  enthusiastic  about  the 
"movies." 

Alfred  Reeves,  his  present  business  manager,  was  also  the 
manager  of  the  company  in  which  Chaplin  appeared  before 
he  entered  pictures.  Mr.  Reeves  has  known  Chaplin  from 
his  fifteenth  birthday.    He  has  seen  Charlie  Chaplin's  father 


(\Surroundcd  by  the  trackless 
wilderness,  Charlie,  for  the 
first  time  in  Ids  life,  meets 
with  a  cold  reception. 


on  the  stage  and  pronounced  nini  one  of 
the  most  talented  actors  of  his  day.  It 
is  the  period  of  1910  of  which  Mr. 
Reeves  speaks — 

"While  we  played  in  New  York 
Charlie  conceived  the  idea  of  utilizing 
all  his  spare  time  away  from  the 
theatre  in  the  making  of  picture 
comedies.  He  outlined  his  idea  to  all 
the  members  of  the  company,  thinking 
then  that  all  we  needed  was  a  camera. 

"Charlie  and  myself,  always  the  best  of  friends,  agreed  at 
the  time  to  put  up  one  thousand  dollars  each  for  the  pur- 
chase of  a  camera.  We  thought  then  that  all  we  had  to  do 
was  to  play  as  in  our  vaudeville  act,  in  the  open  air,  and  it 
would  register  on  the  screen.  The  idea  of  scenes  made  in 
short  lengths,  long  shots  and  close-ups,  and  inserts  being 
taken  separately  and  later  assembled  was  never  dreamed  of 
by  us.  The  cutting  of  the  film,  in  which  Charlie  has  no 
equal,  was  never  dreamed  of  by  him  then. 

"We  entered  into  this  agreement  in  all  seriousness,  but 
because  our  work  took  us  from  New  York,  it  was  abandoned. 
But  Charlie  always  carried  the  idea  in  his  mind.  Since  then 
we  have  often  wondered  what  the  outcome  would  have  been 
had  we  carried  out  the  original  agreement. 

"On  returning  to  England  in  the  summer  of  1912  we  com- 
bined business  with  pleasure  by  playing  the  theatres  of  the 
Channel  Islands. 

"While  playing  the  theatre  on  the  Island  of  Jersey,  there 
was  a  street  parade  and  carnival  in  progress  and  a  news 
weekly  cameraman  recorded  the  event.  He  was  here,  there 
and  everywhere,  but  wherever  he  went  a  very  pompous 
gentleman,  who  was  apparently  in  charge  of  affairs,  would 
always  be  found  in  front  of  the  camera  lens.  He  would 
shake  hands  with  the  local  dignitaries  and  always  turn  from 
them  and  face  the  camera  as  he  did  so.  He  might  be  termed 
the  first  'Camera  hog.'  Always  would  he  bow  and  register 
his  greetings  to  the  camera  while  his  guests  stood  in  the 
background,  or  off  to  one  side.  Charlie  was  completely 
fascinated  by  this  bit  of  business  and  told  me  then  that 
some  day  he  would  put  it  in  a  picture.  In  an  early  picture 
of  his— 'Kids  Auto  Races'— you  will  find  the  fulfillment 
of  his  resolve. 

"We  returned  to  America  shortly  afterward  for  our  second 
tour  and  while  playing  in  Philadelphia,  upon  response  to  a 
wire  from  Kessel  and  Bauman — theatrical  booking  agents — 
Charlie  went  to  New  York  and  there  signed  his  first  picture 
contract. 

"And  so,  contrary  to  the  general  idea  that  Charlie  was 
'discovered'  for  pictures  while  playing  in  Los  Angeles, 
Charlie  arrived  in  California  with  a  one-year  picture  contract 
in  his  pocket.  The  rest  of  Charlie's  history  is  written  by 
the  children  and  himself. 

"Charlie's  greatest  problem  in  his  early  picture  days  was 
his  struggle  with  the  comedy  makers  to  allow  him  to  portray 
his  parts  and  ideas  as  he  felt  them.  He  wanted  from  the 
first  to  instill  ideas,  humor  and  characterization  into  his 
work.    When,  after  much  effort,  he  was  allowed  to  do  this 


he  found  himself— and  then  the  children  found  him.  That 
Charlie  was  born  to  be  a  great  actor  is  obvious." 

The  white  light  that  beats  about  a  throne  is  always  piti- 
less. And  Chaplin  occupies  a  throne  by  world-popular 
acclaim.  But— his  tastes  are  simple— and  his  whole  life  is 
for  the  most  part  devoted  to  his  work.  His  energy  is  tre- 
mendous. He  never  tires.  Even  at  that,  I  sometimes  feel 
that  he  is  over-engined— that  his  mind  is  too  strong  and 
vital  for  his  body— that  he  can  run  five  miles  more  easily 
than  the  average  man  can  walk  that  distance.  It  is  a  matter 
of  Hollywood  history  that  he  neither  drinks  nor  smokes— 
and  that  he  really  has  a  born  appreciation  for  the  beautiful. 

I  have  been  with  this  man  during  the  silent  hours  through 
long  months.  He  is  a  shy  and  sensitive  human  being  with  a 
great  capacity  for  wonder.  But  a  character  analysis  of  the 
comedian  is  not  within  my  score  at  this  time.  It  has  always 
seemed  to  me  that  the  children  have  discovered  and  know 
the  real  Charlie  Chaplin.  A  man  cannot  portray  that  which 
he  does  not  feel.   The  children  do  not  need  to  be  told. 

Those  of  us  who  have  read  the  history  of  pantomimic  art 
are  aware  that  the  greatest  pantomimists  have  always  had  a 
streak  of  sadness  in  them.  It  is  an  inborn  quality.  Chaplin 
is  no  exception.  But  like  other  great  artists  of  gesture, 
Chaplin  has  the  high  streak  of  laughter  also.  He  is  a 
panoramist  of  human  emotions. 

Chaplin's  present  picture  will  be  followed  by  another 
comedy,  as  it  is  not  the  comedian's  intention  to  enter  the 
serious  'drama  in  a  directorial  capacity  for  the  next  few 
years  at  least. 

While  his  picture,  "A  Woman  of  Paris,"  has  been  cordially 
acclaimed  by  the  public  and  critics  the  world  over,  Chaplin, 
like  all  real  artists,  has  certain  stories  locked  up  within  him 
that  he  must  release.  These  stories  coincide  vdth  his  vein 
for  comedy-drama.  Hence  his  decision  not  to  reenter  the 
more  serious  field  for  some  time. 

Lita  Grey,  Chaplin's  new  leading  woman,  will  appear  in 
this  picture  with  him.  Several  years  ago  Lita  played  as  a 
child  in  "The  Kid."  She  is  now  a  full-fledged  young  lady, 
and  has  received  her  first  starring  contract  with  the  comedian, 
who  told  her  years  ago  that  some  day  he  would  make  her 

-a  star*  ■  •  u  ■ 

Her  work  in  this  picture  has  borne  out  Chaplin's  faith  in 

her  innate  ability. 

The  epic  of  the  north  will  be  completed  this  year  and  will 
be  of  ten  or  more  reels.  Chaplin  will  journey  to  New  York 
to  attend  its  premiere.  It  will  be  an  epoch  making  event 
in  the  cinema  world. 


■This  story' by  Jim  Tully,  Charlie  Chaplin's  personal 
friend,  is  the  best  (i 'personality  "  story  you  ever  read. 


27 


ady 
Hollywood 


A  i 


A ILEEN  PRINGLE.  the  Beautiful  Lady  of  Three 
Weeks,  has  brought  to  the  screen  a  new  type 
vampire.   She  is  the  seductive  aristocrat,  with 
poise  and  dignity. 
Miss  Pringle's  air  of  being  to  the  manner  born  is  not  as- 
sumed.   It  is  hers  by  right  of  birth  and  breeding.    As  the 
beautiful  and  popular  Miss  Aileen  Bisbee  of  San  Francisco's 
"four  hundred,"  she  had  every  advantage  that  wealth  and 
culture  could  give  her.   London,  Paris,  Vienna — 
she  knew  them  all.   Then  in  1917  came  her  mar- 
riage to  one  of  Jamaica's  greatest  land-owners. 

It  was  while  her  husband  was  on  a  trip  to 
Paris  that  Aileen  Pringle  felt  the  desire  to  act 
too  strongly  to  be  denied.  She  came  to  New 
York,  and  after  vicissitudes  that  included  going 
hungry — for  she  would  not  write  either  to  her 
husband  or  father  for  funds — she  finally  landed 
a  part  with  George  Arliss  in  The  Green  Goddess, 
in  the  Broadway  stage  production.  Success  came 
but  her  health  failed,  so  she  was  exiled  to  Cali- 
fornia. Little  by  little  she  made  a  place  for  her- 
self in  pictures,  and  in  Three  Weeks  she  estab- 
lished herself  among  the  best  of  them.  True  As 
Steel  strengthened  that  position,  and  now  she  is 
at  the  top  of  the  ladder,  an  aristocrat  among 
vampires. 

She  has  chic,  this  dark-eyed,  white-skinned, 
woman  of  the  lissome  lines.  Also,  she 
has  cachet,  that  indefinable  but  unescap- 
abla  stamp  of  breeding.  When  she 
smiles,  it  is  a  studied  thing,  but  tantaliz- 
ing. Her  eyes  are  pools  of  mystery. 
And  her  carriage  is  a  joy. 


Aileen  Pringle  has  the 
class. 


It  wasn't  a  case  of  "from  rags  to  riches''  with  Aileen 
Pringle.  Quite  the  reverse.  Compared  to  her  former  gay 
existence,  her  present  life  is  one  of  hard  work  and  study. 
Consequently  her  success  has  not  gone  to  her  head,  nor 
will  she  ever  be  counted  among  the  nouveau  riche  of  filmland, 
who  scarcely  know  how  to  spend  their  new-won  wealth. 
She  merely  prizes  her  success  the  more  sincerely,  knowing 
the  price  of  it  in  sacrifice  of  family  and  luxury. 


28 


Q  The  beautiful  lady  of  Three  Weeks  has  brought  to  the  screen 
a  ne<w  type  of  vampire.  She  is  the  seductive  aristocrat.  The 
vamps  of  yesterday  were  long  on  sex  appeal  but  short  on  family 
trees.  But  dileen  Pringle  has  that  poise  and  dignity  that  mark 
the  caste  of  Fere  de  Fere,  subtly  and  dcvastatingly  blended 
with  the  lure  of  the  flesh. 


ill  Rogers 

By  KnneX^Kmtin 


^  DWARD,  Prince  of  Wales,  heir  to  the  throne  of 
England,  wanted  to  be  amused. 
j      "Send  for  that  Will  Rogers  chappie,  who  makes 
them  all  laugh  at  the  Follies,''  Edward  ordered 
his  equerry  or  the  lord  high  chamberlain  or  the  great  Pooh 
Bah,  or  somebody. 
And  the  deed  was  donej 

Will  grabbed  up  his  two  coils  of  intelligent  rope,  his 
old  sombrero,  and  three  packages  of  spearmint  gum,  and 
hastened  out  to  Long  Island. 

And  then  the  fun  began. 

The  Prince — and  about  a  hundred  prominent  men  from 
both  sides  of  the  Atlantic — sat  and  listened  to  Will  Rogers 
for  fifty  minutes.  Will's  speech  was  to  the  point — and 
the  point  was  to  kid  the  prince.  He  kidded  him  about 
the  girls,  polo,  gold-braided  pants,  falling  off  horses,  the 
late  hours  he  had  been  keeping. 

Kidded  him.  that's  all,  in  his  inimitable,  irresistible,  in- 
offensive style. 


And  the  Prince  liked  it. 

"I  told  him  I  didn't  know  what  to  call  him,"  Will  drawls 
as  he  twirls  his  almost  human  rope  before  the  Follies' 
followers.  "I  said  I  knowed  he  wuz  the  Prince  in  the 
mornin',  and  Dave  Windsor  playin'  polo  in  the  afternoons, 
and  Lord  Renfrew  at  night." 

I  asked  Will  Rogers  in  his  dressing  room  at  the  New 
Amsterdam  theater  the  other  night  how  he  does  it.  That 
apparently  inexhaustible  monologue  which  he  changes  every 
night  in  the  week,  matinees  included.  How  he  can  kid  the 
Prince  and  make  him  like  it.  How  he  can  lasso  the  head- 
line position  on  a  Follies  bill  with  an  ordinary  coil  of  rope 
and  a  loose  tongue. 

"Wa-a-11,"  Will  drawls.  "If  I  make  any  p'ticlar  success 
in  this  here  humor  business  I  guess  you  could  say  it's  due 
to  one  fact.  I  know  when  to  stop.  I've  kidded  the  most 
prominent  men  in  the  world,  I  guess,  and  so  fur  as  I 
know,  they  ain't  airy  one  of  them  that  holds  a  grudge  agin 
me.  I  guess  I'm  about  the  only  comedian,  can  lasso  a 
feller  like  McAdoo  and  make  him  come  up  on  the  stage 
and  work  with  me.  I  don't  aim  to  make  nobody  mad.  I 
aim  to  give  the  people  a  good  time  and  make  'em  laugh  and 


Q  Will  Rogers  is  an 
actor;  in  fact,  the 
most  popular  star 
Ziegfeld  Follies 
ever  had.  Perhaps 
the  reason  is  that 
he  still  remains  a 
coivboy.  ' 


<\Will  Rogers  with 
h  i  s  stage-going 
lariat  entertains 
Louise  Fazenda  in 
one  of  the  scenes 
of  a  Hal  Roach 
comedy. 


30 


c<3<?  Clown  Who 
Kidded  the  1 
Prince 


,4  WILL  ROGERS'  WISE  CRACK 

"I  see  by  the  papers  there's  a  lot  of  folks  going  to 
Europe.     Well,  there  was  a  lot  went  ouer  in  1917. 

"This  ain't  the  same  crowd.  " 


GyWill  Rogers  doesn't  un- 
derstand his  success  011 
the  screen.  He  says,  "I 
ain't  got  no  romantic 
appeal." 


<3[You  thought  this  was  Ford 
Sterling.  It  really  shows 
Will  is  an  actor 


<\W  hen  a 

cowboy 
imitates  a 
cowboy  — 
W  ill  as 
Tom  Mix. 


OL  Will  Rogers  is  the  screen's 
only  caricaturist.  Here  he 
is  as  Ernest  Torrence. 


Q.  Perhaps    IF  ill   has  some  ro- 
mantic appeal  after  all. 

make  'cm  think,  but  I  don't  aim  to  hurt  their 
feelin's  none. 

"As  fur  how  I  git  my  stuff,  that's  easy.  I 
read  the  papers  ever'  mornin'  and  evenin'  and  I 
make  a  sort  of  runnin'  comment  on  the  day's 
news.  And  they's  only  one  principle  I  work  on— 
I  alius  tell  the  truth.  I  don't  twist  and  distort 
the  facts  to  make  a  joke  of  'em.  I  try  to  hit 
what  the  public  is  thinkin'  about  things  and  say 
what  they'd  say  if  they  knowed  how  to  put  it  in  words.  A 
feller  once  said  that  he  bet  all  the  husbands  who  come  to 
the  Follies  and  don't  bring  their  wives  pull  my  gags  at  the 
breakfast  table  the  next  mornin'.  as  they  read  the  paper, 
and  pretend  they  is  original  with  them.    Shucks!    I  don't 

31 


32 


SCREENLAND 


care.  They's  welcome  to  'em.  I  ain't  got  no  patent  on  my 
stuff. 

"And  as  to  how  I  keep  it  up,  day  in  and  day  out,  why, 
that's  the  easy  part  of  it.  It's  only  when  I  ain't  been 
workin'  for  quite  a  spell  that  I  git  stale  and  can't  make  the 
gags  come  easy.  When  I  work  ever'  day  I  git  the  habit 
of  seein'  something  funny  or  ridic'lous  in  ever'thing  I  read. 
No.  I  don't  read  other  humorists'  stuff.  I'm  scared  I'll  git 
confused.  I  read  the  editorials  and  news,  and  I  try  to 
figger  out  what  the  average  man  is  thinkin'  and  talkin'  about, 
and  I  shoot  some  of  my  stuff  at  him,  and  if  he  thinks  I'm 
great  it's  because  I  think  like  he  does.  Foot!  They  ain't 
no  trick  to  it  at  all!" 

Not  all  of  us  have  seen  him  on  the  stage  of  the  Follies, 
or  have  read  his  pungent  and  shrewd  witticisms  in  the 
daily  papers  which  pay  him  big  money  to  write  them,  but 
Will  Rogers  is  known  to  screen  fans  more  favorably  than 
any  other  comedian,  in  proportion  to  the  number  of  times 
he  has  appeared  on  the  screen. 

For  a  long  time  it  looked  as  if  Will  Rogers  weren't  going 
to  find  his  place  in  the  Hollywood  sun.  There  was  one 
great  picture,  Jubilo,  about  which  picture  fans  have  never 
quit  talking.  Then  there 
was  a  feature  picture  about 
a  Swede  longshoreman,  I 
believe  it  was;  and  then — 
a  long  silence.  But  the 
movie  fans  did  not  forget. 
Finally  along  came  The 
Ropin'  Fool,  which  was 
rung  in  as  a  trailer  to  the 
regular  feature  at  every 
theater  in  the  land.  And 
the  exhibitors  were  sur- 
prised to  find  that  more 
people  came  out  to  see  good 
ole  Will  Rogers  make  his 
rope  cut  didoes  than  came 
to  see  the  hero  get  the  girl. 

That  set  the  exhibitors 
talking  and  the  screen  fans 
demanding  more  Will  Rogers.  And  what  those  two  want, 
the.  producers  are  bound  to  make.  So  in  the  course  of 
time  there  began  to  trickle  into  the  theater  such  pictures  as 
Jus'  Passiu'  Thru,  Hustlin'  Hank  and  Uncensored  Movies. 

For  at  last  a  producer  had  been  found  who  saw  the  Rogers 
greatness  in  its  true  light.  Pathe  signed  Rogers  for  thir- 
teen pictures,  the  last  of  which,  Gee  Whizz,  Genevieve,  was 
released  this  October.  For  Pathe  this  has  been  a  lucky 
thirteen.  Gangling,  homely,  beloved  Will  Rogers  was  given 
his  head  in  this  baker's  dozen  of  comedies.  He  was  even 
allowed  to  write  the  sub-titles,  in  his  own  inimitable  style. 

And  he  cleaned  up!  The  crowds  talked  Will  Rogers 
as  they  poured  out  of  the  theater — and  asked  for  more. 

Why? 

I  asked  Will  Rogers  that  question  as  he  chewed  spear- 
mint in  his  dressing  room. 

"I  don't  know  why  they  like  me  in  pictures,"  Will  an- 
swered candidly.  "I  ain't  got  no  romantic  appeal.  You 
know — like  Valentino  or  Navarro,  and  it's  the  women  that 
support  the  movies.  And  I  ain't  sure  that  I'm  a  movie 
comedian  at  all.  I  ain't  no  good  at  all  at  making  up 
funny  business  to  do  before  the  camera.  I  guess  I'm  cam- 
era-shy. I  know  I'm  funny  to  look  at — but  fer  the  life  of 
me  I  can't  think  up  funny  things  to  do.  All  I  can  do  is  to 
jes'  act  like  Will  Rogers." 

That's  the  secret  of  it.  He's  just  Will  Rogers  in  every 
comedy  he  makes.  Will  first  makes  us  sorry'  for  him — 
.just  a  little  bit,  you  know;  then  he  makes  us  want  him  to 


win  out;  then  he  makes  us  grin  lovingly  at  his  foolishness 
or  his  embarrassing  predicaments.  But  above  all  he  makes 
us  love  him. 

I  don't  think  any  one  gets  a  huge  laugh  out  of  a  Rogers 
comedy.  The  situations  are  amusing  and  touching,  but 
never  uproariously  funny.  In  pictures  as  on  the  stage 
Rogers  is  a  humorist  rather  than  a  comedian. 

After  Rogers  had  gotten  through  his  bashful  attempt  to 
analyze  his  appeal,  I  did  a  little  theorizing  on  what  makes 
Will  Rogers  America's  most  representative  comedian. 
"You've  got  honest-to-God  Yankee  wit,  the  kind  that 

springs  from  the  soil — typically  American  " 

"Say,  looky  here,  I  ain't  no  Yankee.  I'm  from  Oklahoma." 
Will  interrupted  indignantly. 

"I  mean,"  I  explained,  "Yankee  in  the  sense  that  it  means 
representative  of  all  America,  as  against  British  or  French 
humor.  You  don't  make  jokes.  You  make  humorous,  pithy 
comments  on  anything  that  comes  into  your  head.  You 
call  your  gags  over  the  footlights  like  a  farmer  driving 
through  town  on  a  load  of  hay  exchanges  quips'  with  the 
other  farmers." 
"I  guess  you  mean  that  all  right,"  Will  said  ruefully,  as 

he  unwound  his  long  legs 
from  his  chair  posts. 

I  watched  his  slow,  awk- 
ward movements  as  he 
gathered  up  his  ropes, 
clapped  on  his  leather  chaps 
and  his  old  sombrero,  and 
shambled  on  off — the  high- 
est salaried  comedian  in 
New  York,  and  the  most 
beloved  character  comedian 
on  the  screen.  Out  front 
'there  the  dress-shirt  boys 
and  the  fashionably  un- 
dressed, marcelled,  bedia- 
monded  women  began  to 
smile  affectionately  and  to 
clap  every  slow,  awkward 
step  which  took  him  and  his 
intelligent  ropes  to  the  center  of  the  stage.  Then  the  clap- 
ping reached  crescendo.    New  York  loves  its  idol. 

After  talking  with  Rogers  at  the  Follies  I  went  over  to 
Pathe's  offices  to  see  The  Truthful  Liar,  one  of  the  three 
comedies  he  has  made  around  a  typical  American  type  of 
comedy  character— Congressman  Alfalfa  Doolittle.  When 
Alfalfa  returns  to  the  old  home  town  after  having  been 
ambassador  to  England  he  tells  his  cronies  a  humorous 
and  slightly  exaggerated  version  of  his  experiences  abroad. 
The  climax  of  Yankee  comedy  comes  when  Alfalfa  teaches 
the  king  to  play  poker— winning  even  his  funny  little  gold 
crown  from  the  august  but  unfortunate  card  novice.  This 
comedy  makes  us  feel  what  in  our  hearts  we  firmly  believe 
—that. Americans  have  it  all  over  royalty,  and  that  if  you 
know  how  to  approach  'em,  the  royalty  guys  are  human 
underneath.  Every  one  dreams  of  slapping  the  Prince 
on  the  back  and  calling  him  Ed.  When  Will  Rogers  does 
that  in  the  picture  we  get  a  vicarious  satisfaction  out  of  it. 

Now  that  his  contract  with  Pathe  is  finished  what  will 
happen  to  Will  Rogers,  the  screen  comedian?  Rogers  him- 
self says  he  doesn't  know.  He  wants  to  make  more  pic- 
tures; he  likes  the  movies.  But  Rogers  still  isn't  convinced 
that  he  is  a  good  screen  comedian! 

Will,  we  screen  fans  need  you.    That  kindly  humor,  that 
lovable,  gangling  figure,  that  vacant,  ugly  face  lighted  by 
the  Yankee-shrewd  brain.     We  need  what  you  stand  for, 
Will— clean,  kindly,  inoffensive,  pungent,  earthy  humor. 
Aw,  come  on  back! 


From  Will  Rogers'  Syndicated 
Newspaper  Writing 

I  have  a  custom  of  introducing  prominent  people  of  our 
audience  every  night  to  the  rest  of  the  audience,  and  I 
have  had  some  pretty  big  men.  But  I  want  to  tell  you 
that  a  few  weeks  ago  when  I  heard  Walter  Johnson  was 
'way  back  in  the  house  I  knew  he  was  so  bashful  that  he 
would  never  stand  up  if  I  introduced  him. 

So  I  sneaked  down  off  the  stage  and  went  out  there  and 
put  my  rope  around  his  neck  and  with  the  aid  of  the  other 
players  I  literally  dragged  him  up  on  the  stage. 

Well,  he  got  the  biggest  applause,  and  the  most  genuine, 
that  I  ever  heard  in  our  place. 


ake 


Producing 


Companies 


By  Ted  Taylor 


ASY  MONEY"  and  "the 
J     movies"    became  sy- 
J  anonymous  so  long  ago 
that  it's  a  complicated 


Q.  This  expose  is  aimed  to 
confound  fakers  and  in- 
form the  public  against 
the  leeches  which  live 
'    on  the  credulity  of  the 
'   movie  struck. 


job  to  disentangle  them  now. 

Run  a  few  thousand  feet  of  prac- 
tically worthless  celluloid  through  a 
camera,  exposing  a  few  cuties  or 
near-cuties  in  the  process,  dish  it  up 
with  subtitular  warnings  of  "Then 
Came  Dawn,"  and  "A  Little  Child 
Shall  Lead  Them,"  pick  a  few  spicy 
words  for  a  title,  and  there  you  are! 
Cost,  a  mere  $20,000  or  so.  Profits— 
who  can  tell?    Maybe  a  million! 

Although  the  film  fans  read  vociferously  every  scrap  of 
fact  and  fable  available  about  the  personal  lives  of  the 
handsome  boys  and  cutie  girls  of  the  movies,  they  seem  to 
care  not  at  all  for  dry  business. 

And  the  result  is  the  fast-talking  promoters  of  many  a 
quickly  organized  "producing  corporation"  find  the  pick- 
ings very  profitable.  After  selling  stock  in  single  shares  or 
big  blocks— and  collecting  the  money— they  quietly  remove 
themselves  elsewhere  to  spend  the  money.  When  it's  spent 
they  organize  another  movie  company. 

Many  an  ambitious  young  assistant  director  "sells"  his 
ability  to  sympathetic  women  who  put  up  enough  money  to 
produce  a  picture.  Then  the  ambitious  young  man  incor- 
porates "Rudolf  Productions,  Inc.,"  rents  space  at  a  "leas- 
ing studio,"  engages  actors  and  makes  a  picture. 

The  picture  costs  out  of  all  proportion  to  its  merit.  And 


it  takes  as  long  to  make  as  possible, 
because  the  young  "producer  and  di- 
rector" is  drawing  so  much  salary  a 
week  during  production — as  per  con- 
tract with  the  "angel."  His  friends 
are  drawing  salaries,  too,  as  assist- 
ants and  technical  experts  and  man- 
agers and  every  other  title-  imagin- 
able. There  is  often  more  imagina- 
tion displayed  in  inventing  jobs 
about  one  of  these  independent  units 
than  there  is  on  the  plot  and  the 
direction. 

Another  sly  trick  is  to  engage  free- 
lances for  an  "all-star  cast."  The 
freelance  salaries  run  high  in  the  hundreds,  but  the  producer 
convinces  his  backer  that  "names"  are  necessary  to  put  over 
the,  picture.  The  well-known  freelance  players  show  up 
one  Monday  morning,  and  shooting  proceeds  with  frenzied 
rapidity.  All  the  close-ups  and  foreground  shots  for  the 
entire  picture  are  photographed  by  Saturday  night.  Then 
the  freelancers  are  paid  their  one  week's  salaries  and  dis- 
missed. And  the  director  proceeds  leisurely  with  the  re- 
mainder of  his  picture,  using  inexpensive  doubles,  and  split- 
ting with  his  fellow  conspirators  the  difference  in  the  salary 
list  for  the  balance  of  production— which  may  run  several 
months. 

The  "shoestring"  promoters  even  fool  experienced  mo- 
tion picture  men— sometimes.  The  most  amusing  instance 
of  this  that  I  know  of  occurred  last  year  and  involved  one 
of  the  biggest  production  companies  in  the  game. 


Q  This  deserted  building 
once  housed  dressing- 
rooms  of  successful 
players.  But  in  the 
growth  of  the  industry 
the  successful  compa- 
nies moved  to  larc/er 
studios,  and  fakers  have 
seized  upon  the  de- 
•  serted  lots  to  hoodwink 
investors. 


C[Ihe Caswell  studio,  at  1107  North  Branson  Ave.,  Hollywood,  is  typical  of  the  studios  used 
by  fleeting  independent  producers"  who  never  produce,  and  also  as  the  "acting  academy" 
of  various  make-up  schools.  "O'Conor  Productions,  Inc."  blazoned  011  the  fence  quiets  any" 
apprehensions  on  the  part  of  students  and  investors. 


Without  a  cent  of  capital  this  young  man  raised  $112,500, 
engaged  a  director  and  technical  artist,  got  a  first-class  re- 
lease promised  for  his  unmade  picture,  travelled  across  the 
continent  to  the  studios,  was  interviewed,  photographed  and 
put  up  at  an  exclusive  club.  With  a  little  more  shrewdness 
he  might  have  gone  ahead  and  produced  the  picture  and 
today  be  among  the  best  film  financiers.  But  he  made  a 
slight  error.    Here's  the  story: 

In  an  Ohio  city  there  was  a  youth  following  his  father's 
footsteps  in  the  building  of  model  bungalows.  With  some 
of  his  money  he  dabbled  in  home-talent  movies — crude  lit- 
tle short-reel  stories  that,  were  shown  in  local  houses. 

The  experience  aroused  his  movie  ambitions  and  he  went 
to  New  York.  A  friend  casually  introduced  him  to  a  cer- 
tain director  who  has  been  in  the  game  since  its  early  days. 

"Maybe  you  can  give  me  a  tip,"  said  the  dapper  youth 
from  Ohio  to  the  director.  "I've  got  a  man  who  wants  to 
put  $150,000  into  pictures  and  I'm  looking  for  a  good 
director." 

The  director  cleared  his  throat  modestly. 

"Well,  I've  directed  most  of  the  big  stars,"  he  said.  "I'm 
turning  down  contract  offers  just  now  because  I  want  to 
produce  a  story  of  my  own." 

"What  kind  of  a  story?" 

"  'Gilded  Profit.'    It's  a  " 

"Say,  that  sounds  good.  Let  me  look  over  the  script, 
will  you?" 

The  director  was  delighted. 

With  script  in  hand  the  youth  called  upon  the  vice-presi- 
dent of  a  big  film  company  that  was  releasing  some  inde- 
pendently made  picture. 

"I've  the  well-known  director.  Bob  Marker,  under  con- 

34 


tract  and  I'm  going  to  make  a  $150,000  production  of  this 
story,"  he  stated  confidently. 

The  executive  was  impressed  by  the  boy's  "front,"  and 
offered  to  pay  50  percent  of  the  production  cost  when  the 
negative  was  handed  to  him.  The  youth  persuaded  him 
to  make  the  guarantee  75  percent  of  the  cost,  and  had  the 
agreement  in  writing. 

Then  he  went  to  the  New  York  representative  of  a 
cinema  financing  company  and  got  $112,500. 

The  Ohioan  then  went  to  California  with  his  director 
and  his  script  and  a  press  agent. 

At  the  studio  the  young  men  were  received  with  open 
arms  by  the  studio  manager.  The  publicity  department 
hailed  .the  promoter  as  "The  Youngest  Film  Producer  in 
the  World"  and  scattered  interviews  and  photographs  among 
the  newspapers.  The  "producer"  engaged  an  art  director, 
who  insisted  on  putting  up  his  new  boss  at  the  exclusive 
college  club.    And  he  started  plans  to  produce  his  picture. 

Where  was  he  going  to  get  his  additional  $37,500?  He 
didn't  know,  and  he  tried  not  to  worry  about  it. 

He,  might  have  actually  got  the  picture  in  production 
had  he  not  made  one  mistake. 

In  moving  from  his  hotel  to  the  club  he  neglected  to 
pay  a  bill  of  $150.  The  hotel  recognized  a  newspaper  pic- 
ture of  "The  Youngest  Film  Producer"  as  its  non-paying 
guest.  The  manager  showed  this  circular  to  the  art  director 
who  had  made  the  producer  his  guest.  Whereupon  the  art 
director  compared  notes  with  the  press  agent  and  Bob 
Marker,  the  director.  None  of  them  had  received  any  actual 
money,  and  there  were  discrepancies  in  the  young  producer's 
various  stories. 

So  they  went  to  the  vice-president  in  charge  of  produc- 


QThe  enclosed  stage  of  the  Brentwood  Studio.  Before  the  stock-selling  companies  made 
capital  out  of  this  pretentious  lay-out,  honest  and  ambitious  adventurers  sought  to  win  a 
fortune  here  from  the  movie  game. 


tion  at  the  studio.  Telegrams  flashed  to  New  York  and 
the  contract  with  the  "producer"  was  cancelled.  The  com- 
pany officially  announced  that  it  was  cancelled  because  the 
producer  "had  broken  down  in  health."  The  young  man's 
wife  sent  him  railroad  fare  home. 

Impersonators  of  famous  film  folk  crop  up  in  many 
parts  of  the  country.  A  few  years  ago  David  Work  Grif- 
fith appeared  in  Dallas,  Texas.    Notice  that  "Work." 

Griffith  was  looking  for  a  beautiful  blonde  for  the  lead 
in  his  next  production.  He  found  her  in  a-  shop  in  the 
person  of  Marguerite  McCully,  22.  He  signed  her  for  $3600 
the  first  year,  to  be  doubled  each  year — and  the  fifth  year 
she  could  name  her  own  figures. 
He  took  her  to  the  leading  department  store  and  ordered 

that  anything  she  desired  be  turned  over  to  her.  "Charge 

to  Mr.  Griffith." 

Joe  Luckett,  who  was  handling  Griffith  films  in  Dallas, 

impersonated  a  plumber  and  inspected  the  stranger's  room. 

"Not  the  real  Bave,"  he  declared.    Then  the  cops  walked 

in  and  arrested  David  "Work"  Griffith,  who  admitted  he  was 

J.  P.  Staley. 

A  Mr.  "Klein,"  claiming  to  be  a  casting  director,  was 
arrested,  with  two  fellow  officials  on  the  charge  of  a  60- 
year-old  woman  that  they  obtained  $600  from  her.  prom- 
ising to  star  her  with  her  son  and  daughter. 

Another  Hollywood  woman,  Mrs.  R.  C.  Richer,  took  ad- 
vantage of  a  bargain  offer — "Movie  Stars  Made,  2  for  $150." 
She  paid  the  $150  to  see  her  two  daughters  twinkle  on  the 
screen.  When  she  found  the  "producer"  had  disappeared 
she  told  the  police.  But  she  had  neglected  to  learn  the 
"producer's"  name. 


One  motion  picture  company  in  Chicago  has  been  in  the 
limelight  of  the  courts  off  and  on— mostly  on— for  months. 
The  company  produced  a  picture  called  "Hope,"  just  as 
promised.  But  when  the  cast  was  announced  some  fifty 
young  women  were  grievously  disappointed,  each  having 
expected  the  stellar  role.  Many  of  them  had  paid  from 
$35  to  $60  to  be  "made  stars  in  five  weeks,"  they  said. 
But  much  of  the  producers'  time  was  taken  up  by  having 
students  pose  in  bathing  suits. 

Charges  against  this  company  were  filed  by  two  members 
of  the  cast.  The  president  and  vice-president  were  ar- 
rested and  pleaded  guilty  to  conspiracy  when  confronted 
with  overwhelming  evidence  that  seemed  to  show  their  only 
motive  in  advertising  for  "movie  actors  with  or  without 
experience"  was  to  extort  money  from  them.  Both  were 
given  jail  sentences. 

In  Indianapolis  is  the  office  of  another  company.  This 
concern  announced  a  picture  with  Betty  Blythe  in  the  lead- 
ing role,  a  statement  Miss  Blythe  promptly  denied. 

Another  picture  concern  in  that  locality  sold  $200,000 
worth  of  stock  and  never  made  a  picture. 

Another  San  Francisco  promoter  recruited  would-be  actors 
to  act  as  his  "partners"  in  his  film  company.  When  the 
picture  was  sold  the  investors  were  to  get  their  money  back 
and  part  of  the  profits  as  well. 

But  the  officials  paid  themselves  such  enormous  salaries 
that  no  profit  was  possible  even  had  a  picture  been  made 
and  sold.  However,  the  promoter  simply  broke  up  the 
company  and  decamped  to  Los  Angeles. 

In  Los  Angeles  he  rented  an  office  in  Loew"s  State  theater 
building,  furnished  it  with  upholstered  mahogany,  so't  rugs 

35 


36 


SCREENLAND 


and  floor  lamps,  and  hung  out  his  sign  as  an  "independent 
producer.''  Forewarned  of  his  San  Francisco  activities  a 
young  woman  friend  of  mine  paid  him  a  visit  to  learn,  if 
possible,  what  he  had  up  his  sleeve  for  Los  Angeles  in- 
vestors.   Let  her  tell  her  experience: 

"It  was  9  in  the  morning  when  I  entered,  and  already 
half  a  dozen  prospective  clients  were  waiting  for  Mr.  Mc- 
Keen,  president,  secretary  and  board  of  directors  of  the 
'picture  company.' 

"At  11  o'clock  Mr.  McKeen  entered,  walked  quickly 
and  obliviously  past  the  waiting  roomful  and  shut  the  door 
of  his  office.  Then  the  buzzer  began  ringing,  and  one  by 
one  the  sheep  filed  in. 

"When  my  turn  came  to  enter  the  sanctum,  the  first  thing 
which  struck  me  was  the  personality  of  McKeen.  A  hand- 
some man,  with  dark  hair,  close  clipped  moustache,  and 
regular  features,  there  was  a  magnetism  about  him  which 
lent  conviction  to  his  words  and  compelled  liking  of  the 
man  himself. 

"  'Your  name?'  he  interrogated. 

"  'Marjorie  Gray,'  I  replied  promptly. 

"  'How  do  you  do,  Marjorie,'  he  smiled,  shaking  my  hand 
warmly  and  waving  me  courteously  to  a  chair. 

"  'So  you  want  to  get  into  pictures.'  He  looked  at  me 
closely,  yet  with  a  friendly  twinkle  in  his  dark  eyes. 

"  'Take  off  your  hat.  Marjorie.' 
T  did. 

"  'Turn  sideways.  That's  right.  Now  stand  over  there. 
How  tall  are  you?  Five  feet  four.  Hm.  Just  about  right." 
He  paused  thoughtfully. 

"  'You  have  an  almost  classical  profile.  A  face  that 
would  screen  well.  Are  you  athletic?  Swim,  play  tennis 
a  lot?    That's  fine.    Always  wear  your  hair  straight?' 

"He  smiled  engagingly  when  I  declared  that  waves  were 
too  expensive  for  stenographers. 

•'  'Now.  Marjorie,  are  you  in  a  position  to  support  your- 
self for  a  few  weeks?'  he  inquired. 

"  'Yes,  I  could  manage  that  all  right,'  I  told  him. 

"  'You  don't  have  a  car,  do  you?'    This  very  casually. 

"I  explained  about  my  Ford,  adding  that  I  also  was  the 
proud  possessor  of  a  bank  account. 

"  T  think  you'll  do,  Marjorie,'  he  announced  decisively. 
And  he  went  rapidly  into  plans  for  photographs   a  screen 


tryout  and  spoke  alluringly  of  an  opening  in  the  cast  of  the 
company's  next  production." 

"Marjorie  Grey"  did  not  return  to  become  a  film  star, 
as  per  appointment,  however.  She  knew  a  little  more  about 
Mr.  McKeen's  company  than  Mr.  McKeen  suspected. 

To  enumerate  all  the  production  schemes  for  exchanging 
hard  cash  for  soft  opportunities  in  film  investment  would 
be  a  tedious  task. 

There  was  an  Albany  man  who  cleaned  up  about  $40,000 
in  two  years.  His  favorite  scheme,  according  to  the  New 
York  attorney  general,  was  selling  managerships  in  branch 
offices  of  "King  Films."  - 

There  were  three  others  accused  by  W.  H.  Kollman  of 
Los  Angeles  with  selling  him  a  two-thirds  interest  in  the 
"Cinema  Stars  Company."  a  movie  publicity  concern  that 
did  not  exist. 

There  was  Regal  Brady,  president  of  the  Desert  Feature 
Film  Corporation,  who  had  a  jail  cell  as  office  for  a  time 
when  five  cowboys  declared  they  had  paid  him  $100  a  share 
for  stock  he  was  selling  to  others  for  $1  a  share. 

There  were  any  number  of  others  who  clinched  with  the 
law.  And  twice  as  many  again  who  were  careful  to  keep 
inside  the  law.  There  are  some  SO  studios  in  Los  Angeles. 
And  just  19  of  them  are  occupied  by  legitimate,  recognized 
producing  companies.  The  remainder  occasionally  house 
regular  producers,  but  most  of  the  time  are  headquarters 
for  production  companies  with  stock  to  sell  and  little  other 
aim  in  life. 

The  moral  is:  There's  no  easy  money  in  the  movies. 
That  is,  except  for  the  "producers"  who  collect  it  and  give 
nothing  in  return.  And  even  they,  as  you  see.  frequently 
wind  up  in  jail. 

Real  money  made  in  motion  pictures  is  the  result  of 
sweat  and  prayers  and  watchful  waiting.  And  you  have 
to  have  a  fortune  to  play  with  from  the  beginning. 

Remember  that  the  only  successful  small  movie  stock- 
selling  proposition  in  film  history  was  the  New  Bedford 
Whaling  corporation,  which  produced  "Down  to  the  Sea  in 
Ships."  Its  third  dividend  to  stockholders  equalled  the 
amount  originally  paid  for  stock.  Yet  the  original  invest- 
ments were  tied  up  for  two  years.  And  "Down  to  the  Sea 
in  Ships"  was  one  of  the  high  spots  of  last  year's  films. 

The  safe  rule  is:  Don't  buy  movie  stock  unless  it's 
listed  on  'Change.  And  don't  buy  it  then  unless  vou  can 
get  along  very  well  without  the  money. 


01  A  dilapidated  street  exterior  on  the  ill-fated  Brentwood  lot,  where  King  and  Florence  Fidor 
produced  when  they  first  came  to  Hollywood.  With  the  great  success  of  the  Fidors  to  point 
to,  it  lias  been  easy  to  convince  unwary  investors  that  this  was  the  place  where  fortunes  could 
he  made. 


She  Has 


A  ramily  On  tier  Wands 


G[Baby  Peggy  pays  divi- 
dends to  her  parents, 
but  it  is  the  loving  care 
that  she  has  in  her 
home  that  has  kept  her 
the  unspoiled,  simple, 
adorable  child  she  is. 


T 


"\JHE  most  thoroughly 
human  child  on  the 
screen  is  Baby  Peggy 
Montgomery.  W  e 
laugh  at  her  antics  on  the 
screen  and  spank  our  own  off- 
spring for  the  very  same  brand 
of  naughtiness.  I  strongly 
suspect  that  Mama  Montgom- 
ery has  a  hard  time  explaining 
to  ■  Peggy  why  she  gets  pun- 
ished for  running  the  bathtub 
over  at  home  when  the  director 
makes  her  do" it  on  the  set. 

Peggy  is  any  normal,  healthy 
little  girl  of  five. 

That's  why  we  like  to  see 
her  round,  merry  little  face 
with  its  shoe-button  eyes 
gleaming  unwinkingly  at  us 
from  the  screen.  In  Peggy  we 
see  ourselves  when  we  were 
kids.  We  all  like  to  think  that 
we  were  terribly  naughty  and 
troublesome  but  just  doted  on 
by  our  fond  mamas  and  too 
indulgent  papas.  Peggy  keeps 
up  the  tradition  of  carefree 
childhood. 

Baby  Peggy  is  a  great  lit- 
tle comedienne.  She  makes  us 
laugh  joyously,  with  no  tears 
behind  the  laughter;  she  makes 
us  believe  in  the  normality  of 
life;  she  makes  us  go  home  to 
our  own  kids  in  a  little  more 
tolerant  frame  of  mind,  which 
often  lasts  through  two  or 
three  peccadilloes  that  would 
ordinarily  call  down  the  wrath 
of  the  hairbrush  or  send  them 
early  to  bed. 

I  claim  that  Peggy  is  not  a 
real  actress.  She  is  a  real  kid 
instead.  For  which  we  fans 
should  be  immensely  grateful, 
get  acting  any  day  in  the  week 
spirit   of   childhood   rampant  is 


Q  Baby  Peggy  is  the  youngest  star  of  the  screen, 
but  ivhat  she  really  is  is  a  happy  little  girl 
ivho  plays  in  front  of  a  camera. 


We  can 
but  the 
a  much 

harder  thing  to  snare  and  turn  into  celluloid. 

Baby  Peggy  is  a  great  little  comedienne;  true,  but  her 
greatness  lies  wholly  in  her  naturalness,  her  lack  of  acting. 
We  do  not  think  of  her  as  an  actress  but  as  a  delightful  kid. 


0|.  IF  lien  the  interview  a 
mentioned  the  proposed 
European  trip  Baby 
Peggy  showed  a  marked 
lack  of  interest. 


(\!f  yon  ant  to  make 
a  baby  happy  just  give 
it  a  moving  pic  tun- 
company. 


By  W.  R.  Benson 


having  one  whale  of  a  good 
time,  and  hence  making  us 
have  a  whale  of  a  good  time. 
We  do  not  feel  that  the  Peggy 
who  grows  up  will  remain  on 
the  screen.  If  she  does  I  sus- 
pect she'll  be  doing  the  Col- 
leen Moore  type  of  devilish 
little  flappers.  Peggy  has  no 
emotional  depths;  her  tears 
are  the  ready,  quickly  dried 
tears  of  childhood. 

No  wonder  Peggy  wanted  to 
go  back  to  Hollywood,  where 
she  has  a  big  yard  to  play  in 
and  a  big  studio  lot  to  do 
some  more  playing  in.  At  the 
studio  she  is  encouraged,  en- 
treated to  "express  yo'self.  my 
child";  in  New  York  she  had 
to  express  herself  as  a  visiting 
motion  picture  star.  .  She  had 
to  "be  nice"  to  reporters  and 
governors  and  mayors  and 
other  uninteresting  people,  who 
said  wearisome  things  about 
what  a  great  little  actress  she 
is  and  who  wanted  her  photo- 
graph. 

She  had  to  endure  long  ses- 
sions with  dressmakers  and  de- 
signers; take  dancing  lessons 
from  a  society  matron  who  had 
decided  to  earn  a  living;  she 
had  to  lead  the  Smith  demon- 
stration parade  at  the  Demo- 
cratic National  Convention  al 
Madison  Square  Garden:  and 
she  had  to  talk  over  the  radio. 
No  wonder  her  small  head  was 
in  a  whirl  and  her  eyes  had 
begun  to  get  a  hint  of  that 
Jackie  Coogan  wistfulness  that 
makes  the  other  '  kid*'  such  a 
different  sort  of  comedian 
from  the  happy-go-lucky  Peggy. 

Little  Baby  Peggy  will  never  be  forgotten 
even  though  she  commits  the  very  common 
error  of  growing  up.  In  fancy  we  can  see 
the  head  lines  years  from  now  "Baby  Peggy  Mother  of 
Baby  Girl."  Baby  Peggy  by  her  precocious  labors  has 
secured  for  herself  loving  friends  for  a  life-time. 

37 


i 


Photographs 
bv  Bachrach 


Harold  Lloyd  Offers  $500.™ 

He  Wants  to  Know  Which 

Tell  Htm  the  Comedy  You  'Enjoyed  the  Ts/lost  and  Why 

(\Limit  your  letter  to  tivo  hundred  words.  Among 
the  many  prizes  offered  there  is  a  very  good  chance 
that  you  will  be  well  repaid  for  your  study. 


"sj  VEN  the  most  popular  comedian  on  the  screen 
has  his  troubles.  Principal  among  them  is  just 
what  to  do  next  in  the  way  of  picture  making. 
Ideas  reach  the  scenario  department  of  Harold 
Lloyd  from  all  corners  of  the  globe — a  dozen  a  day,  some- 
times, giving  him  suggestions  of  every  sort,  and  his  own 
staff  of  skilled  moving  picture  authors  suggest  many  and 
various  types  of  stories  for  him. 

In  the  midst  of  all  this  material  Mr.  Lloyd  frequently 
stands  undecided  as  to  just  what  to  give  his  public  next. 
Lloyd  invariably  has  suggested  the  main  idea  for  every 
story  ill  which  he  has  appeared.  And  it  has  been  his  pol- 
icy to,  mix  them  up — that  is,  to  vary  the  style  of  each 
succeeding  picture.  He  is  hard  pressed  sometimes  to  find 
something  different  to 
do,  but  he  always  man- 
ages to  do  it.  He  does 
not  want  to  be  identi- 
fied with  any  certain 
type  of  production. 
There  are  too  many  in- 


Cl  Harold  Lloyd  in  a 
hurry.  He  says  this 
guy  ivith  the  glasses 
got  him  into  "Hot 
Water." 


stances  where  stars  figuratively  have  killed  themselves  by 
sticking  too  closely  to  one  type  of  picture,  and  when  they 
try  to  vary  their  style  their  public  refuses  to  accept  them. 

Not  long  ago  a  well  known  comedian  changed  the  type 
of  vehicle  in  which  he  had  been  appearing  and  selected  for 
his  most  ambitious  work  a  story  he  thought  would  make 
a  fine  picture.  It  is  sad  to  recount  that  while  the  public 
was  very  fond  of  him  in  certain  roles,  in  an  elaborate  over- 
costumed  production  his  personality  was  so  swamped  that 
even  his  most  faithful  fan  became  discouraged. 

It  is  a  matter  of  no  small  importance  to  a  star  to  find 
out  from  his  public  exactly  how  they  wish  him  to  work. 


Q.Here  is  the  greatest  comedy 
material  in  the  world.  Hovj 
shall  it  be  used? 


(\JFhat  d'ya  say?  Will  you?  Har- 
old Lloyd  challenges  you  to  a  high 
•venture. 


iev-m 


QThe  greatest  n, 
in  the  moving  picture  bus- 
mess  offers  you' a  chance 
to  share  in  his  prosperity: 


38 


in  Prizes  for  Your  Letters 

of  His  Films  You  Liked  Best 


HAROLD  LLOYD  SUCCESSES 

A  Sailor  Made  Man    -  1921 

Grandma's  Boy  -      -      -  1922 

Dr.  Jack  -      -  -      "  1922 

Safety  Last  -  -      -      -  1923 

Why  Worry  -  -      -      -  1923 

Girl  Shy-  -  -  '  -  -  1924 
Hot  Water  -     -     -     -  1924 


01  There  is  a  lesson 
for  a  in  bilious 
young  America  in 
the  fact  that  Har- 
old Lloyd,  one  of 
the  greatest  screen 
flayers,  is  also  one 
of  the  least  con- 
ceited. 


Q  What  a  quantity  of  good  na- 
ture there  can  be  in  one  smile! 


QHarold  may  be  "Girl 
but  he  at  least  is 
camera-shy. 


In  what  type  of  play 
they  prefer  him,  and 
learn  from  the  ulti- 
mate consumer  just 
what  the  market  re- 
quires. 

Harold  Lloyd's  problem  is  not,  however,  as  desperate  as 
that  of  many  others,  as  his  success  in  the  past  three  years 
recounts.  His  policy  has  been  more  than/approved  by  the 
public.  But  while  he  is  expected  to  play  a  comedy  role 
rilled  with  the  "delicate  shadings  of  humor  of  which  he 
stands  master,  there  are-  many  difficulties  presented  in  se- 
lecting roles  in  this  classification,  many  questions  as  to 
just  which  type  among  all  the  many  plays  he  has  produced 
won  him  the  most  friends. 

It  would  be  possible,  of  course,  to  check  up  the  sales  of 
each  one  of  these  films  and  the  records  of  attendance  and 
find  which  had  been  the  most  popular,  were  it  not  that  the 
returns  are  not  in,  and  it  is  believed  that  there  never  will 
come  a  time  when  Harold  Lloyd  productions,  even  the  old 
ones,  will  not  draw  among  his  large  army  of  admirers. 

If  you  have  seen  Harold  Lloyd's  films  prior  to  the 
first  announcement  of  this  offer,  and  his  appealing  quality 
seemed  better  fitted  at  one  time  than  another,  write  a 
letter  to  the  Harold  Lloyd  Contest  Editor  of  Screenland 
Magazine,  explaining  which  picture  you  liked  him  best  in, 
and  briefly  stating  your  reasons  why. 

There  are  so  many  prizes  offered  in  this  contest  it  would 
seem  that  any  one  who  is  anxious  to  do  Mr.  Lloyd  the 


Shy" 
not 


Q.As  the  years  go  by, 
things  look  rosier  and 
rosier  to  Harold  Lloyd, 
but  his  glasses  stay  the 
same. 


service  of  trying  to  help  him  select  the  type 
of  his  vehicles  will  also  have  a  very  fine  chance 
of  winning  a  prize.  Send  in  your  letters,  on 
or  before  the  first  of  December,  1924,  and 
carefully  study  out  all  the  conditions. 

Typewrite  your  manuscript  if  possible  and 
write  only  on  one  side  of  the  paper.  No 
manuscripts   will  be   returned   nor   can  we 
enter    into   any  correspondence   concerning  the  contest. 
The  conditions  are  all  here  and  all  must  be  complied  with. 
The  contest  closes  on  December  1st,  1924. 

The  prizes  will  be  awarded  as  follows: 
FIRST  PRIZE 

$100.00 

TWO  SECOND  PRIZES 

$50.00  each 
FOUR  THIRD  PRIZES 

$25.00  each 
TEN  FOURTH  PRIZES 

$10.00  each 
TWENTY  FIFTH  PRIZES 

$5.00  each 

A  contestant  may  send  in  as  many  answers  as  he  chooses 
but  no  one  answer  should  be  longer  than  200  words. 

Address  Harold  Lloyd  Contest  Editor.  Screenland.  145 
West  57th  Street,  New  York  City. 

30 


Loean 


Q.  Miss  Logan's  sug- 
gestion for  a 
dainty  evening 
hat  is  this  large 
b  I  a  c  I  hat  of 
chantilly  lace, 
threaded  with 

gold. 


Styles  for  the  business  Girl 
on  a  ~Wintry  T>ay 


ByVohdah  Dexter 


Photographs  especially  posed 
for 

SCREENLAND 

by 

Jacqueline  Logan 


|  ET'S  call  her  Suzanne.  I  think  probably  she  would  choose  that  name! 
She  was  slight,  auburn-haired  and,  oh,  so  beautifully  dressed.  I  had 
..journeyed  out  from  bright  New  York  to  cold  and  dreary  Long 
Island  City  where  Paramount's  eastern  studio  takes  on  sur- 
rounding color  and  by  no  external  grandeurs  betrays  the  presence  of  Thomas 
Meighan,  Gloria  Swanson,  Bebe  Daniels,  Jacqueline  Logan  and,  latterly, 
Rudolph  Valentino.  Stepping  into  the  business  office,  which  for  all  the 
proximity  of  fame  is  much  like  your  office  and  mine,  I  inquired  for  the 
star  I  was  to  interview.  Around  me  was  the  unemotional  paraphernalia  of 
commerce,  humdrum,  workaday.  A  door  opened  and  I  beheld  Suzanne.  Who 
came  to  see  a  star,  talked  first  with  somebody's  stenographer. 

Suzanne,  after  a  little  persuasion,  expounded  her  sartorial  doctrine:  To 
be  well-dressed  on  a  small  salary — copy!  Originality  thrives  not  upon  the 
short  purse  and  the  long  office-hours.  So  pick  out  the  well-dressed  woman 
you  resemble  and,  in  professional  argot,  steal  her  stuff. 

"I'm  awfully  lucky,"  gloated  Suzanne.  Yes,  she  gloated.  So  would  any 
girl  with  her  opportunities.    "You  see  in  weight,  height  and  coloring,  but 


CI  This  chic  little  hat  goes 
well  laith  a  suit,  tailored 
dress  or  winter  coat. 


40 


etS  the 


/ashion 


unfortunately  not  in  looks,  I'm  Jacqueline  Logan.  She 
weighs  one  hundred  and  twenty  and  is  five-feet-four.  You'll 
see  her  working  on  the  set  now.  Whenever  I  have  a  moment 
I  watch  what  she  is  wearing  and  while  I  can't  afford  her 
materials  or  cuts  still  I  always  feel  'way  out  ahead  of  the 
other  girls  in  anything  I've  copied  from  her  wardrobe.  Then 
too,  I'm  learning  all  the  time  how  and  where  to  wear  my 
clothes." 

Winter-styles  for  twenty-five-dollars-a-week  business  girls 
established  by  an  oh-how-many-thousand  dollars  star?  It 
seemed  unreasonable  until  Jacqueline  Logan  herself  de- 
manded, 

"Why  not?  I'm  a  business  girl.  I  have  to  come  to  work  in 
all  weathers  just  as  any  one  else.  That  my  particular  work 
happens  to  array  me  in 
thrilling  fabrics  makes  no 
difference.  It's  the  getting 
to  work  through  that,"  she 
nodded  towards  the  window 
where  sleet  beat  past  from 
a  harsh  sky. 

Said  Jacqueline : 

"First  and  foremost,  the 
business  girl  must  have  a 
warm,  serviceable,  dark,  yet 
chic  suit :  something  to  wear 
rain,  hail  or  sunshine.  This 
season  is  a  particularly  hap- 
py one  for  the  girl  who  has 
to  make  one  costume  do  for 
varied  occasions.  I  pin  my 
faith  to  an  ensemble  cos- 
tume of  brown  wool  suede 
fabric,  skirt  short,  but  not 
too  short.  The  dress  is 
straight  of  course,  with  a  top 
of  beige  bengaline,  buttoned 
from  shoulder  to  hem  with 
flat  brown  buttons.  When 
I'm  in  a  hurry,  I  simply 
undo  two  buttons.  Then 
steps  are  strides." 

The  coat  was  a  love.  It 
was  straight,  too,  and  closed 
at  one  side  with  a  big  button 
and  lined  with  the  same 
material  as  the  top  of  the 
dress.  A  snug  collar  of 
beaver  had  cuffs  to  match. 
Open  or  closed,  it  looked 
equally  smart  especially 
with  the  vivid  boutonnierre 
Jacqueline  pinned  inside  the 
collar.  A  little  brown  felt 
hat,  with  slightly  rolled 
brim,  banded  with  tan  gros- 
grain  ribbon,  brown  pumps 
ind  beige  stockings  complet- 
ed the  outfit. 

Sometimes  Miss  Logan 
wears  with  this  suit  a  cun- 


(\Miss  Logan  displayed  a  simple 
black  satin  dinner  gown  only 
slightly  decollete  and  along 
slender  lines,  with  a  deep 
fringe  of  satin  braid.  "I  like  to 
wear  black  satin  low-cut  slioes 
and  rhincsione  buckles  with 
tliis"  Miss  Logan  said. 


Q Jacqueline  strongly  advocates  the  chic  en- 
semble costume.  This  one  is  of  brown  wool 
suede  fabric.  The  dress  is  straight  with  a 
top  of  beige  bengaline.  The  coat  is  finished 
with  a  snug  beaver  collar  and  cuffs  to  match. 
A  knobby  brown  felt  hat  and  brown  pumps 
and  beige  stockings  complete  the  outfit. 

ning  little  polo  hat  of  fawn-brown  suede  cloth — anything 
suede  is  all  the  rage  this  season,  you  know — pulled  deter- 
minedly over  her  hair  as  though  to  challenge  the  world  to  a 
"chukker." 

"What  would  you  suggest  for  dinner  and  say  a  dance  or 
theatre  afterwards?"  I  asked. 

"Black,"  replied  Miss  Logan  promptly.  "It  can  be  made 
to  look  infinitely  more  striking  than  any  color.  Haven't 
you  noticed  how  a  black  gown  will  dominate  a  roomful  of 
multi-colored  frocks?  Look!"  She  displayed  a  black  satin 
dinner   gown   of   simplicity   that   is   the   season's  mode. 

The  rounded  neck  was  only  slightly  decollete  in  a 
model  of  slender  lines  and  an  unusual  deep  fringe  of  satin 
braid.  "I  like  to  wear  black  satin  low-cut  shoes  and 
rhinestone  buckles  with  this."  sh,e  mentioned.  "You  know, 
buckles  with  pins  so  that  it's  quite  easy  to  change  them 
from  one  pair  of  shoes  to  another." 

Hit  -11 


crccn 


Reviewed  by  Y^elight  Evans 


OME  smarty  said  once,  "I  don't  know  much 
about  art,  but  I  know  what  I  like." 

I'll  change  that  "much"  to  "anything", 
and  apply  it  to  this  month's  celluloid  ban- 
quet.   Because  I  have  been  having  the  time  of 
my  life  at  the  movies.    But  when  I  stop  to  think 
about  it,  I  have  no  excuse  for  myself  at  all.  So 
I  hope  you  won't  want  any.    There  hasn't  been 
any  new  "art  form"  evolved,  or  a  revolutionary 
invention   exhibited — to  my  meager  knowledge. 
But  there  has  been  some  great  entertainment.  So 
much  of  it  that  I  don't  know  where  to  begin.  And 
don't  demand  a  critical  analysis,  because  you  won't 
get  it.    I  forgot  that  I  was  seeing  pic- 
tures for  a  living  and  pretended  I  had 
paid  admission  to  almost  every  thea- 
ter I  went  into.    And  that's  a  distinct 
departure,  as  they  say  in  art  circles; 
because  sometimes  I  feel  more  like 
stopping  at  the  box-office  on  my  way 
out  and  demanding  my  pass  back. 

The  best  time  was  had  by  me  and, 
if  the  gasps  and  chortles  meant  any- 
thing, by  all,  at  "The  Iron  Horse." 
This  was  the  surprise  of  my  season. 
I  had  watched  that  darned  airplane 
with  "The  Iron  Horse"  blazoned  upon 
it  in  letters  of  fire  flash  through  the 
skies  so  many  times  that  I  was  all 
tired  out.  You  know  how  it  is  when  you  hear  an  airplane, 
no  matter  how  many  you  have  been  up  in  yourself.  You 
know  what  they  look  like  and  how  they  work,  but  you  can't 
resist  rushing  to  the  window  to  watch  them  fly  by.  Feel- 
ing as  I  do  about  airplanes,  I  lost  a  lot  of  sleep  because  that 
costly  method  of  exploitation  had  occurred  to  William  Fox 
to  let  the  world  in  on  the  secret  that  in  "The  Iron  Horse" 
he  had  a  picture— a  picture,  my  boys.  Well,  I  agree  with 
Mr.  Fox,  not  because  of  the  expensive  publicity,  but  be- 
cause, strangely  enough,  of  his  photoplay. 

"The  Iron  Horse"  has  black-and-white  scenes  which  are 
as  stirring  as  the  pageants  in  the  old  books.  It's  the  reddest- 
blooded  entertainment  I  ever  saw.  There  are  Indians — and 
everything.  Added  to  the  thrills  there  is  a  drama,  and  ro- 
mance— not  the  puny  romance  of  the  hero  and  the  heroine, 
though  that  is  sweet  and  pretty;  but  the  great  romance  of 
the  building  of  the  first  transcontinental  railroad. 

Add  to  your  list  of  inspiring  screen  sequences  that  of 
"The  Iron  Horse"  which  pictures  the  gallant  men  who  stop 
in  their  work  of  making  a  railroad  to  take  a  casual  shot  at 
passing  savages  and  then  go  back  to  their  song,  "Drill,  ye 
terriers,  drill."  By  the  way,  there's  a  tune  for  you  to 
whistle!  The  musical  score  keeps  pace  with  the  action  all 
the  time,  and  that's  saying  a  lot.  Then  there's  the  best 
Indian  fight  ever  filmed.  The  work  train  is  surrounded  at 
"end  of  track."  The  hero  and  Corporal  Casey — more  of 
him  later— jump  on  their  iron  horse  and  puff  back  for 


Q  THE  IRON  HORSE  is  a  convincing 
record  in  celluloid  of  American  his- 
tory and  more  colorful  than  any- 
thing to  be  found  in  books. 


01  Winston  Miller  in  "The  Iron 
Horse'',  an  outstanding  excel- 
lent bit. 


help.  The  Indians  draw  in.  There,  under 
a  freight  car,  are  two  of  the  three  mus- 
keteers— the  injured  Private  Schultz  has 
a  box  seat  at  the  battle  which  he  isn't  too 
injured  to  enjoy.  The  relief  train  with  its  fighting  men — 
and  women — joins  the  fight.  And  the  hero  has  a  little  pri- 
vate battle  of  his  own,  and — oh,  you'll  love  it.  You'll  eat 
it  up. 

There's  much  more.  John  Ford  has  done  such  good 
work  in  direction  that  you  feel  yourself  one  of  the  builders 
of  the  railroad,  and  find  it  hard  to  ride  home  in  the  railroad's 
little  step-brother,  the  subway.  "The  Iron  Horse,"  to  my 
mind,  makes  better  time  than  "The  Covered  Wagon";  but, 
while  the  stories  are  actually  almost  identical  in  outline, 
there  is  no  question  of  comparison.  Each  picture  has  its 
place.  Each  is  great.  And  if  the  people  who  rode  in  "The 
Iron  Horse"  seem  more  real  to  me  than  the  pioneers  in 
"The  Covered  Wagon,"  it  is  only  because  I  found  George 
O'Brien  a  more  believable  lad  than  J.  Warren  Kerrigan,  and 
could  get  all  worked  up  over  his  affairs — even  that  with 
the  beautiful,  but  completely  colorless  Madge  Bellamy.  And 
there  is  Corporal  Casey,  the  Ernest  Torrence  of  this  Fox 
drama.  Played  by  J.  Farrell  MacDonald,  he's  a  delight.  His 
name  is  Winston  Miller,  and  his  scene  at  the  grave  of  his 
massacred  father  is  the  most  touching  in  the  picture.  Mas- 
ter Miller  is  a  fine  actor.  It  is  easier  for  a  very  little  boy 
to  be  a  fine  actor  than  it  is  for  a  bigger  boy  of  Winston's 
age,  generally  known  as  awkward.    But  Winston  manages. 

Incidentally,  "The  Iron  Horse"  is  another  contribution  to 
the  screen  anthology.  Gradually  we  are  getting  a  complete 
record,  in  celluloid,  of  American  history,  more  convincing, 


42 


SCREEN  LAND 


43 


QBest  Screenplays  of  the  Month 

QThe  Iron  Horse 

QThe  Man  Who  Came  Back 

QOpen  All  Night 

QThe  Navigator 


Q  Best  Performances  of  the  Month: 

(\Dorothy  Mackaill  and  George  O'Brien  in 
The  Man  Who  Came  Back 

G[  Jetta  Goudal  in  Open  All  Night 

(\  Pauline  Frederick  in  Three  Women 

Q  Charlie  Ray  in  Dynamite  Smith 


more  colorful  than  anything 
to  be  found  in  books.  Chil- 
dren, don't  fail  to  add  this 
to  your  home  work;  but  you 
might  be  generous  and  take 
your  old  folks  along. 

And  now  for  the  comedy 
relief.  There  is  enough  of 
it  on  this  month's  program 
to  give  you  a  chuckle  a 
week — or  do  you  guffaw? 
They  are  mostly  chuckles 
this  month.  Let's  begin 
with  "Open  All  Night," 
which  is  our  dear  old  movie 
all  done  up  in  long  pants,  or, 
if  you  prefer  something  more 


modern,  plus-fours.  In  other 
words,  we  have  graduated. 
From  "Pollyanna"  to  Paul 
Morand  is  a  real  leap,  but  the 
motion  picture  has  made  it. 
And  today  we  have  a  farce  far 
more  genuinely  amusing,  and 
far  more  delicately  done  than 
two-thirds  of  the  stuff  on 
Broadway.  In  New  York  right 
now  there  is  a  comedy  which 
skates  on  very  brittle  ice,  and 
often  skids.  In  another 
Broadway  theater,  "Open  All 
Night,"  suggested  by  the 
stories  of  a  Frenchman  who 
excels  at  accounts  of  light 
amours  and  pastel  emotions, 
is  presented  on  the  shadow- 
stage,  and  it  is  a  credit  to  the  screen.  You  know  what  you 
like  and  this  may  not  be  it.  But  Paul  Bern  has  been  so 
charmingly  inconsequential  about  its  direction,  and  the 
players  enter  so  fully  into  the  spirit  of  the  thing,  that  the 
result  is  our  first  really  naughty  and  sophisticated  picture. 

Viola  Dana,  more  entrancing  as  a  featurette  than  she  ever 
was  as  a  star,  plays  the  petted  wife  of  a  man  about  Paris, 
Adolphe  Menjou.  She  yearns  for  a  caveman  who'll  brow- 
beat instead  of  baby  her.  She  finds  him  in  Maurice  B. 
("Lefty")  Flynn,  as  a  six-day  bicycle  rider  with  mustachios 
and  a  passion  for  onions.  But  she  also  encounters  the 
athlete's  love,  Jetta  Goudal,  and  while  the  six-day  race  is 
being  run  on  the  track  outside,  Viola  and  Jetta  run  an 
emotional  race  of  their  own.  If  Jetta  wins,  it's  because  she 
has  a  part  which  fits  her  as  snugly  as  the  daring  dress  she 
wears.  Mile.  Goudal  is  seen  in  only  one  gown  during  the 
entire  proceedings,  but  in  it  she  provides  more  excitement 
than  most  actresses  with  several  changes  of  costume.  Jetta 
is  great.  She's  unique  in  her  catlike  grace  and  strange 
beauty.  There  is  nothing  at  all  squeamish  or  lady-like  about 
the  way  she  tears  this  role  to  pieces,  but  you  can't  help 


Q  George   O'Brien  and 
Man  Who  Came  Back. 


applauding.  Adolphe  is — Adolphe;  I've  stopped  quibbling 
over  his  lack  of  variety  and  gladly  accept  him  for  himself. 
His  eyebrows  express  more  than  most  leading  men's  whole- 
set  of  features.  Raymond  Griffith  thumbs  his  nose  at 
prohibition  and  portrays  a  very  tipsy  party  who  is  always 
amusing  and  never  in  the  least  unsympathetic. 

Mr.  Bern  is  a  young  man  and  this  is  his  first  directorial 
effort.  He  is  a  pupil  of  Papa  Lubitsch,  but  he  can  step 
out  of  the  class  now  and  teach  his  teacher  a  thing  or  two. 
That  is,  if  Paramount  doesn't,  spank  him  and  send  him. 
supperless,  to  bed  after  "Open  All  Night."  Paul  was  a 
naughty  boy,  but  a  clever  one.  However,  considering  the 
fate  which  probably  awaits  this  comedy  at  the  box  office, 
it's  a  big  "if." 

"Merton  of  the  Movies"  is  an  old  man  now.  He's  been 
trouping  a  good  long  time,  and  it  seems  to  me  he's  a  little 
tired.    Or  it  may  be  that  I  am  tired  of  Merton.   I've  known 

him  so  long.  I  met  him 
when  Harry  Leon  Wilson  in- 
troduced us  in  book  form;  I 
saw  him  on  the  stage.  And 
somehow  in  his  latest  incar- 
nation he  fails  to  interest  me 
much. 

It  is  my  theory  that  "Mer- 
ton of  the  Movies"  never 
meant  Merton  in  the  movies. 
The  movies  can't  kid  them- 
selves and  get  away  with  it. 
A  satire  on  the'  screen  doesn't 
belong  there.  And  that's 
why  Merton,  in  the  films,  fell 
flat  for  me.  It  was  all  there: 
Merton's   mimicry  with  the 

dummies;  Merton's  tryout  in 
Dorothy   Mackaill   in   "The  fa        ^  ,g  romance 

Wliat  a  team  they  make! 
George  O'Brien  and 
Miss  Mackaill  are 
marvellous. 


CI  "The  Navigator" 
ivith  B  n  s  t  e  r 
Keaton.  This  is 
the  best  Buster 
Keaton  picture 
ever  made. 


01  It  is  the  best 
Iota  comedy 
of  months. 


with  ''Flips"  Montague.  But  not  even  James  Cruze  could  put 
it  over.  And  I  think,  from  the  mental  tone  of  the  picture,  that 
Cruze  realized  he  couldn't.  The  story  has  been  changed  to  per- 
mit Harold  Parmalee  to  leer  after  "Flips";  but  it  isn't  this  change 
which  prejudiced  me.  And  not  Glenn  Hunter's  screen  Merton, 
either.  Because  Glenn  is  just  as  lovable  and  just  as  poignant  as 
he  was  on  the  stage.  It  is  a  perennial  performance  and  it  be- 
longs to  the  little  list  which  we  call  great.  Viola  Dana  is  present 
as  "the  Montague  Girl,"  and  what  a  cunning  kid  she  is.  I'm 
awfully  glad  she's  ceased  starring  and  gone  back  to  work. 

But  for  a  real,  old-fashioned,  stomach-laugh,  don't  miss  "The 
Navigator."  Buster  Keaton  in  a  deep  sea  diver's  bathing  suit  may 
not  sound  funny.  Buster  Keaton  in  anything  may  not  be  funny 
to  you.  But  Buster,  or  his  "gag"  men— give  them  credit;  they 
have  a  lot  to  do  with  the  laughs  in  any  comedy — have  actually 
managed  to  think  up — "dope  out"  is,  I  believe,  the  more  tech- 
nical phrase — some  perfectly  original  versions  of  the  old  jokes. 
There's  no  such  thing,  I  suppose,  as  a  new  comedy  idea,  except, 
once  in  a  while,  when  Charlie  Chaplin  gets  busy;  but  there  are 
all  sorts  of  ways  of  making  you  believe,  for  a  minute,  that  you 
never  saw  a  comedian  slip  and  fall  before.  For  fast  and  furious 
fun,  "The  Navigator"  is  the  best  low-comedy  of  months.  And 
I  just  love  low-comedy,  don't  you?  The  idea  is  that  Buster 
and  his  girl  manage  to  embark  on  an  empty  ship  which  is  set 
adrift.  Both  are  spoiled  children  and  are  obliged  to  learn,  bit 
by  bit,  the  rudiments  of  housekeeping.  Somehow,  although  his 
expression  never  changes,  Buster  contrives  to  give  a  very  good 
impersonation  of  a  very  vacant  young  rich  man — as  good  as 
some  I've  seen  which  required  eyebrows,  lots  of  acting,  and  an 
opera  hat.  Before  they're  rescued — I'm  not  giving  away  the 
plot,  for  there  isn't  any — Buster  dons 
the  diver's  suit,  mixes  up  with  canni- 
bals, and  attempts  solitaire  with  a  deck 
of  very  wet  cards — the  real  roar  of  the 
picture. 

As  far  as  acting 
is  concerned,  the 
histrionics  are  left 
to  a  still  photograph 
of  Donald  Crisp  as 
Battling  Burrows  of 
"Broken  Blossoms," 
which  scares  the 
navigators  almost  to 
death,  and  I  didn't 
blame  them. 


01  Glenn  Hunter 
and  just  as  po 


as  "Met 
ignant  as 


ton  of  the 
he  ivas  on 


Movies," 
the  stage. 


01  Elliott  Roth  as  Harold 
Parmalee  in  Harry 
Leon  Wilson's  "Merton 
of  the  Movies.'' 


01  Glenn  Hunter,  showing  Viola  Dana 
hoiv  Merton  resembles  Harold  Par- 
malee. 


01  Viola  Dana  as 
the  Montague 
Girl  and  what  a 

cunning  kid  she  Before  yQU  die  kughing  at 

"The  Navigator" — gosh,  I  hope 
Buster  is  as  funny  when  you 
see  him  as  he  was  at  the  pre-view — rush  right  out  and  see 
"In  Hollywood  with  Potash  and  Perlmutter."    For  some 
reason  or  other,  you  must  not  say  "Potash  and  Perlmutter  in  Hollywood."    But  that's 
the  only  restriction  the  picture  puts  on  you.    Otherwise,  it's  all  yours  to  howl  at. 

Now,  I  don't  put  these  two  cloak-and-suit  gentlemen  among  my  favorite  film  acquaint- 
ances. But  I  couldn't  help  being  captivated  by  their  desperate  efforts  to  make  good  in 
the  movies.  They  begin  by  producing  a  film  called  "The  Fatal  Murder,"  featuring  Irma 
and  Rosie  Potash,  daughter  and  wife  of  Abe  Potash,  the  president  of  the  firm.  Also  em- 
ployed are  numerous  aunts,  uncles  and  cousins  of  the  producers.  But  somehow  that 
picture  flopped.  And  so  they  decide  to  make  a  vampire  drama,  and  they  do,  they  do. 
The  surprise  of  the  evening  is  the  appearance  of  Constance  and  Norma  Talmadge  in 
small  parts — yes,  really.    The  girls  have  at  least  one  good-sized  sense  of  humor  between 


44 


01  diaries  Ray  in  the  title  role  of  "Dynamite 
Smith,"  his  first  big  Ince-Pathe  feature. 


Q.  Wallace  Beery,  Bessie  Love  and  Charles  Ray. 
Beery  is  the  proprietor  of  a  dive,  "The  Dia- 
mond- Cafe,"  Bessie  is  his  wife,  and  Charles 
Ray  is  the  young  reporter. 


the  old  "Thomas  H.  Ince  Presents."  You  remember  Ince  pre- 
sented Ray  in  "The  Coward,"  "The  Clodhopper,"  and  those 
other  hits  which  established  Charlie  as  the  First  Boy  of  the 
screen.  Then  ambitions  led  him  away  from  the  old  home- 
stead; he  went  out  into  the  world  to  make  his  way.  But  the 
world  wanted  Charlie,  not  Charles.  And  that's  why  Thomas 
Ince  welcomed  him  back  the  other  day  and  set  him  at  his  old 
chores,  which  he  does  so  much  better  than  any  one  else,  it's  a 
shame  he  ever  stopped. 

C.  Gardner  Sullivan,  who  wrote  the  most  popular  of  the  old 
Ince-Ray  rural  dramas,  was  called  in  to  do  the  churning.  He 
produced  a  story  which  gives  Charlie  all  his  old  chances  to  make 
good,  and  some  new  ones,  too.  "Dynamite  Smith"  is  daring,  in 
a  way.  I  can't  tell  you  why,  for  it  would  spoil  the  suspense; 
but  it  follows  life  somewhat  more  closely  than  is  usual.  Charlie 
isn't  a  hero;  he's  a  human,  somewhat  scared,  but  always  lovable 
boy.  And — I'm  not  just  being  kind;  I  really  think  so — he  has 
more  power  and  depth  than  he  used  to  have.  Bessie  Love  helps 
him  stage  a  scene  which  for  pathos  I  have  not  seen  bettered. 
It's  the  scene  on  the  stairs.  Watch  for  it.  Wallace  Beery  is 
the  conventional  villain  and  Jacqueline  Logan  the  conventional 
heroine,  but  they  don't  seem  to  matter  so  much.  It's  Charlie's 
birthday  party.  We  won't  count  the  candles;  we'll  just  wish 
him  many  happy  returns  of  the  day. 

And  now  for  "The  Man  Who  Came  Back,"  by  Jules  Eckart 
Goodman.  If  you  saw  the  play  you  will  want  to  see  the  picture 
and  if  you  didn't  you  mustn't  miss  it  either.  It's  frankly  a 
melodrama,  but  it  is  of  that  stuff  which  holds  and  thrills  you — 
if  it  doesn't,  you  miss  a  lot.  I'm  almost  willing  to  bet  that  even 
if  you  turn  up  your  nose  at  the  fantastic  story,  the  romance  will 
get  you.  Especially  as  it  is  acted  by  George  O'Brien  and 
Dorothy  Mackaill.  What  a  team  they  make!  This,  or 
"The  Iron  Horse,"  is  O'Brien's  first  picture.  He's  the  son 
of  Dan  O'Brien,  Frisco's  chief  of  police;  and  he  broke 
into  the  movies  by  hanging  around  when  film  companies 
came  to  his  home  town  to  shoot  scenes.  He  became  an 
assistant  director  and  then  Fox  gave  him  his  chance.  And 
if  he  doesn't  make  you  throw  away  your  cherished  pic- 
tures of  Rudolph  and  Adolphe  and  Ramon  and  other  Latin 
lads,  it  will  be  because  their  secretaries  never  sent  you 

any.     Anyway,  that's  the  way 
I  feel  about  George.    If  I  said 
„  he  looks  like  a  young  Greek 

/  god  in  his  bathing  suit  in  this 

picture,  it  would  kill  all 
my  chances  of  ever  in- 
terviewing  Mr.  O'Brien, 
.    and  I  am  looking  for- 


Q.  Wallace  Beery 
puts  over  the  'vil- 
lain. 


them,  and  they  did  this  for  a  lark.  They,  with 
George  Sidney  as  Abe  Potash,  are  the  stars  of  the 
occasion.  Sidney  is  a  rare  actor,  a  Warfieldian 
character  who  is  just  as  effective  before  the  camera 
as  the  foot-lights.  Alexander  Carr  can't  seem  to 
forget  the  camera  and  as  a  result  isn't  so  good. 
The  titles  are  by  Montague  Glass,  father  of  Potash 
and  Perlmutter;  and  if  these  are  your  samples, 
Montague,  I'll  order  a  whole  case. 

"The  Man  Who  Came  Back."    What?    No,  not 
Charlie  Ray;  I'll  get  around  to  him  later.  Still, 
when  I  stop  to  think  it  over,  Charlie  is  really  the  man  who 
came  back,  and  he  deserves  three  cheers  and  a  hand-clasp; 
and  here's  mine,  Charlie. 

"Dynamite  Smith"  is  Charles  Ray's  return  picture  under 


Q.  In  this  picture  Charles 
Ray  has  more  power  and 
depth  than  he  used  to  ha<ve. 


ward  to  it.  Besides,  he's  such  a  young  rough-neck  that 
men  will  like  him,  too,  and  I  don't  want  to  say  anything  to 
make  them  change  their  minds.  Besides,  again,  he  can  act 
some.    He  and  Miss  Mackaill  are  marvellous.     This  girl 


45 


was  in  the  Follies  once,  but  she  has  lived 
it  down.  '  She  has  more  promise  than  any 
other  leading  woman  I  can  think  of;  and 
I  only  hope  Fox  doesn't  decide  to  star 
her.  Her  wistful  charm  and  fragile  beauty 
barely  hint  at  the  tremendous  emotional 
wallop  she  can  pack  when  she"  chooses. 
Strong  words,  but  it's  that  kind  of  a  pic- 
ture! 

Now  to  pull  myself  and  remingwood  to- 
gether and  assume  a  slightly  cynical  ex- 
pression in  place  of  one  of  pure  joy.  We 
have  with  us  today  "Three  Women."  As 
a  matter  of  fact,  it  should  be  only  one 
woman,  and  that  one,  Pauline  Frederick. 
She  and  Charlie  Ray  are  both  returning 
to  greatness.  Pauline  was  missed  almost 
as  much.  She  is  the  saving  grace  of  the 
latest  Ernst  .Lubitsch  drama — and  what 
grace!  As  the  middle-aged  mother  of  May 
McAvoy,  Miss  Frederick  has  all  her  old 
fire  and  much  of  her  old  beauty;  but  she 
has  added  the  subtlety  which  perhaps  she 
always  had,  but  which  was  always  success- 
fully hidden  in  the  hodge-podge  of  wretched 
vehicles  which  was  her  former  film  lot. 
The  story  started  out  to  be  daring  and 
then  somehow  was  side-tracked  to  permit 
a  highly  moral  ending — the  kind  of  moral 
which  was  the  old-fashioned  film  stand- 
ard, but  which  the  films  have  outgrown. 
Surely  Lubitsch  was  not  in  accord  with  the  development  of 
his  theme.  His  skill  and  humor  are  less  in  evidence  than 
formerly;  in  fact,  his  name  is  the  only  thing  to  mark  it  as  a 
Lubitsch  picture.  I  suspect  "Three  Women"  has  been  ruth- 
lessly cut.  There  is  only  a  glimpse  of  the  third  woman, 
played  by  Marie  Prevost.  And  most  of  us  want  more  than  a 
glimpse  of  the  plump  little  Prevost.  The  story,  briefly, 
concerns  a  mother  enamoured  of  a  rogue — Lew  Cody — 
pardon  me,  Lew — to  such  an  extent  that  she  fails  to  display 
the  proper  maternal  affection  for  daughter  May.  The  mother 


C  Adolphe  Menjou  and 
Viola  Dana — you  can't 
help  applauding. 

CI  "Open  All  Night,"  a  farce, 
more  genuinely  amusing  and 
far  more  delicately  done  than 
two-thirds  of  the  stuff  oil 
Broadway. 


Q  Freeman  Wood  and  Betty  Compson  in  "The  Female'.'' 


instinct  is  only  awakened  when  Lew  appropriates  May,  mar- 
ries her,  neglects  her.  Lew  pays — poor  Lew; he  is  always  the 
screen  villain  who  pays  and  pays.  But  he  is  as  sincere  as  his 
role  permits.  The  only  believable  thing  about  it  is  the  mother, 
thanks  not  to  the  scenario  writer,  but  to  the  splendid  Miss 
Frederick.  There  are  the  usual  "Ernst  Lubitsch  touches"; 
but  a  touch  isn't  what  this  picture  needs.    It  needs  a  wallop. 

"Tarnish"  is  a  good  picture.  But  your  enjoyment  depends 
entirely  upon  what  you  demand  of  your  screen  entertainment. 
If  I  were  making  a  list  of  pictures  not  to  be  missed,  I  am 
afraid  this  new  George  Fitzmaurice  photoplay  would  not  be 
among  them.  It  left  me  in  a  state  best  described  as  chilly. 
It  is  well  written  by  Frances  Marion  from  Gilbert  Emery's 
play;  it  is  well  directed  by  Fitzmaurice;  and  it  is  exceedingly 
well  acted.   But  it  has  little  appeal. 

The  theme  is:  "All  men  are  tarnished,  but  pick  one  that 
cleans  easily."  It's  a  great  shock  to  the  heroine  to  find  that 
her  lover  used  to  know  a  manicurist,  but  she  recovers  in 
time  to  remember  that  real  love  is  everything.  All  of  which 
occasions  the  comment,  "Well,  what  of  it?"  The  nicest 
part  of  the  picture  is  the  presence  of  Ronald  Colman,  whom 
you  would  never  take  for  an  actor  if  you  saw  him  on  the 
street.  He  isn't  handsome,  and  although  .he  boasts  a  mus- ' 
tache,  it  is  a  very  nice  mustache  and  he  never  twirls  it. 
May  McAvoy  is  her  usual  sweet  self  as  the  heroine,  and  I 
can't  say  anything  worse.  The  feminine  honors  go  to  Marie 
Prevost,  who  has  become  such  a  corking  actress  we  are  in 
danger  of  forgetting  her  Sennett  past.  There's  no  girl  on  the 
screen  who  can  play  a  demi-mondaine  like  Marie.  And  she's 
always  somehow  so  appealing  in  her  rough  roles  that  she 
steals  sympathy  from  the  good  little  girls.  Albert  Gran,  as 
the  philandering  old  father,  eats  up  a  fat  role.  That  he 
doesn't  over-eat  is  proof  that  he's  a  seasoned  actor. 

"Lily  of  the  Dust"  seemed  to  be  almost  unanimously  ac- 
claimed one  of  Pola  Negri's  worst  pictures.  I  am  going 
to  be  strong-minded  and  insist  it  is  one  of  her  best.  It 
retains  the  flavor  of  Sudermann's  "Song  of  Songs"  from 
which  it  was  adapted,  if  not  the  outlines;  and  in  it,  Negri 


46 


shows  more  o£  her  old  eagerness  and 
what  is  generally  known  as  abandon. 
One  thing  I  like  about  her  is  her  com- 
plete indifference  to  clothes  and  coiffure 
when  her  role  calls  for  it.  As  a  shop- 
girl she  dresses  the  part,  and  gives  her 
maid  a  day  off.  The  Negri  retinue  must 
have  had  a  real  vacation  during  the  first 
reels  of  "Lily  of  the  Dust,"  before  Lily 
marries  the  colonel  and  goes  to  live  well 
in  Berlin.  But  her  young  lieutenant 
enters  her  life  again,  still  poor  but  ar- 
dent. And  he  breaks  Lily's  heart  for  the 
rest  of  the  picture.  We  should  thank 
the  producers  for  the  unhappy  ending. 
Ben  Lyon  should  always  appear  in  a 
uniform.  I  never  liked  him  before. 
Noah  Beery  as  the  colonel  is  always  in 
character.  And  Pola  is  picturesque.  The 
worst  thing  about  "Lily  of  the  Dust"  is  its  title. 

Here's  "The  Alaskan,"  by  James  Oliver  Curwood,  starring 
Thomas  Meighan,  and  made  'way  up  thar  where  men  pose 
themselves  against  the  sky,  especially  motion  picture  actors. 

"The  Alaskan"  is  Tommy  Meighan  and  lots  of  scenery. 


Q  Monte  Blue 
Prcvost  in  ' 
of  Camille.': 


and  Marie 
'The  Lover 


Q  Pauline  Frederick  in 
"Three  Women"  is  the 
saving  grace — and  what 
grace/  Also  Lew  Cody 
and  May  McAvoy. 


Q  May  McAvoy 
and  Marie  Pre- 
<uost  in  this  latest 
Luhitsch  picture. 


You  can't  be  hard  on  a  picture  or  a  player  when  they  have 
gone  to  all  the  trouble  to  hunt  up  accurate  locations  and 
leave  their  California  comforts,  all  for  us.  It  must  be  cold 
up  there,  too.  In  spite  of  all  this,  or  it  might  have  been 
because,  of  the  Arctic  atmosphere,  my  impression  of  "The 
Alaskan"  just  about  matches  the  scenery.  But  most  Meighan 
admirers  will  gladly  bundle  up  and  go  to  see  him,  and  there 
is  a  demand  for  the  book,  I  hear.  Besides,  the  dusky  Estelle 
Taylor  is  in  it ;  and  Estelle  makes  herself  useful  around  the 
set  and  ornamental,  too. 

To  warm  up  a  little  after  "The  Alaskan"  I  saw  "Sinners 
in  Heaven."  Bebe  Daniels,  Richard  Dix  and  company 
went  down  to  the  Bahamas  where  the  tropic  sun  beats  down 
on  the  white  sand  and  there  are  plenty  of  palms  for  the 


heroine  to  be  chased  from  tree  to  tree  if 
it's  that  kind  of  a  picture.  Bebe  and 
Richard  arrive  in  an  airplane,  but  not 
intentionally.  After  that,  it's  not  much 
different  from  the  other  stories  of  hero 
and  heroine  cast  up  by  the  sea,  except 
that  an  airplane,  not  a  ship,  rescues 
them.  But  I  confess  I  am  slightly  par- 
tial to  shipwreck  stories,  also  to  Bebe 
and  Richard;  so  I  discovered  a  little 
glamor  in  "Sinners  in  Heaven,"  though 
I  had  to  overwork  my  imagination  to  do 
it.    An3  the  scenery  is  just  grand. 

Watching  the  first  reels  unfold.  I 
thought  surely  I  had  seen  "Circe,  the 
Enchantress"  somewhere  before.  The 
lady  with  the  head  of  fuzzy  blond  hair 
looked  vaguely  familiar  to  me.  And 
when  she  was  seen  twinkling  her  toes  in 
a  jazz  dance  before  a  group  of  admiring  males,  I  was  sure 
she  was  an  old  friend.  Yes — "Circe"  is  Mae  Murray — again. 

Mae  is  clever.  Mae  is  pretty.  Mae  is  a  divine  dancer. 
But  in  "Circe"  there  is  too  much  of  Mae.  It  is  all  Mae — 
and  not  even  Mae  Murray  is  clever  enough,  exotic  enough, 
or  varied  enough  to  have  six  whole  reels  almost  entirely 
to  herself.  Particularly  when  such  a  story  as  "Circe"  is 
employed  to  exploit  her  talents.  Ibanez  wrote  it;  but  I 
would  like  to  be  present  when  he  first  sees  the  completed 
picture  and  to  understand  enough  Spanish  to  translate  his 
comments.  There  is  just  one  thing  in  "Circe"  that  is  real: 
Mae  as  a  school-girl.  But  she  grows  up  very  soon,  and  there 
the  reality  ends. 

Another  case  of  a  one-star  picture  is  "One  Night  in  Rome." 
Laurette  Taylor  is  too  good  a  showwoman  to  indulge  in  an 
over-abundance  of  close-ups;  but  she  should  have  known 
that  this  J.  Hartley  Manners  play  would  not  make  a  good 
picture.  I  saw  the  play;  and  Miss  Taylor,  as  always, 
charmed  me.  But  in  the  picture,  with  its  ineffectual  story, 
the  Taylor  charm,  which  is  so  elusive  and  gossamer  it 

takes  a  clever  cameraman  to 
catch  it,  is  scarcely  evident 
at  all.  The  star  becomes 
merely  a  competent  actress 
whose  close-ups  remind  you 
that  her  youth  is  past. 

Paradoxically,  Laurette 
Taylor  should  always  play 
children.  As  an  Irish  gamin, 
she  is  delicious — incompar- 
able. Her  close-ups  as  "Peg 
o'  My  Heart"  were  of  a  very 
young,  very  lovely  girl.  She 
sparkled  with  humor:  her 
great  eyes  were  the  fresh 
dewy  eyes  of  a  child.  But 
Laurette  in  long  dresses 
loses  her  screen  identity.  Not  even  the  Irish  Tom  Moore  can 
enliven  the  dull  affair.  How 


I  wish  Laurette  and  Tom 
would  play  together  in  an 
emerald  tale  of  young  love! 
The  title-writer  wouldn't 
have  to  sprinkle  his  cap- 
tions with  "Wurra  wurra" 
with  them  around. 

Oh,  Betty,  how  could  you ! 
After  your  Dodo  in  "The 
Enemy  Sex"  you  do  a  thing 
like  this.  Perhaps  "The 
"Female"  wasn't  your  fault. 


01  Tommy  Meighan  and 
Estelle  Taylor  in  "The 
Alaskan." 


CI  P  e  r  c  y 

M  a  rmont 
and  Mar- 
guerite De 
La  Motte.. 


Marguerite' 
is  much 
better  than 
ever  be- 
fore. 


Q.P  c  r  c  y 

M  a  rmont 
in  a  touch- 
ing scend 
beautifully 
blaved. 


Marguerite 
D  e  L  a 
Motte  and 
Percy 
M  a  rmont 
in  J.  Stuart 
B  lackton's 
master- 
piece. 


Dickstein's 

HIS  HOUR — -Metro-Goldwyn — In  this  one,  the  love  of 
Gritzko  for  Tamara  might  have  lasted  Three  Weeks  or 
Six  Days  or  perhaps  it  was  culminated  in  that  One  Exciting 
Night  when  Gritz  locked  Tarn  in  a  snow  bound  shack 
'way  out  on  a  lonely  Russian  steppe.  At  any  rate  one  can- 
not sit  up  with  this  newest  brain  child  of  Elinor  Glyn  and 
maintain  any  semblance  of  time  elapsed.  It's  like  walking 
the  floor  with  it,  you  know,  at  midnight  when  an  hour 
seems  more  like  a  year.  His  Hour  is  not  so  very  much 
different  from  other  Glyn  screenings  we  have  seen  in  the 
past.  It  has  one  (1)  prince  of  the  royal  family  of 
Suchalove;  one  (1)  painfully  beautiful  princess  who 
spends  most  of  her  time  resisting  the  amorous  advances 
of  the  dashing  prince;  five  (5)  ermine  bedecked  courtesans 
with  names  ending  in  off ;  and  various  other  supernumer- 
aries who  jump  when  the  director  calls  Sonia,  Olga, 
Tatiana,  Sasha  ox  Caviar. 

But,  then,  that  is  as  it  should  be  in  all  good  Elinor 
Glyn  productions.  The  movies  will  be  no  worse  off  for 
an  extra  prince  or  two  and,  besides,  Prince  Gritzko  in 
His  Hour  is  charmingly  played  by  John  Gilbert.  Aileen 
Pringle  is  the  Princess  Tamara  and  who  wouldn't  devote 
at  least  one  little  hour  to  her? 

VANITY'S  PRICE — F.  B.  0—  And  now  even  the  beautiful 
and  bland  Anna  Q.  Nilsson  has  undergone  the  Steinach 
treatment  of  rejuvenation.  Not  really,  you  know,  but  in 
the  role  of  Vanna  Du  Maurier  in  Vanity's  Price,  it  is 
exactly  what  every  one  wanted  her  to  do.  Lines  and 
wrinkles  have  no  place  on  the  face  of  one  so  fair  as  Nilsson. 
Since  Corinne  Griffith  set  the  style  in  Black  Oxen  and 
with  even  the  mundane  Menjou  affording  himself  a  new 


Ol"C  lean 
Hearts  ,  " 


of  A.  S.  M. 
Hut  chin- 
son's  novel, 
is  a  film 
we  recom- 
mend. 

Reviews 

gland  or  two  in  Sinners  in  Silk,  you're  probably  going  to 
see  more  miracles  of  rejuvenation  on  the  screen  this  year 
than  there  were  dusky  faced  Arabs  born  of  French 
noblemen  during  the  period  immediately  following 
The  Sheik. 

However,  if  Vanna  Du  Maurier  hadn't  been  rejuvenated 
in  Vanity's  Price  there  wouldn't  have  been  a  plot,  and 
without  a  plot  not  even  Miss  Nilsson  or  Stuart  Holmes  or 
Wyndham  Standing  or  Arthur  Rankin  could  have  made  a 
picture.  As  it  stands,  it  is  a  drama  chock  full  of  arresting 
situations  and  amazingly  frank  disclosures  in  the  life  of  a 
woman  who  was  afraid  to  grow  old.  Miss  Nilsson  is  es- 
pecially convincing  as  the  pre-rejuvenated  Vanna  and 
Stuart  Holmes  once  more  his  wondrous  villainy  performs. 

Naturally,  no  entertainment  for  the  youngsters.  They'd 
see  no  reason  why  in  the  world  folks  would  want  to  be 
young  again  anyhow. 

MEASURE  OF  A  MAN— Universal— And  while  we're  on 
the  subject  of  rejuvenation,  we  are  reminded  of  the  limit- 
less prowess  and  indeterminable  energy  of  this  fellow, 
William  Desmond,  whose  latest  Universal  thriller  is 
Measure  of  a  Man.  Bill  will  never  grow  old.  He  is  the 
same  virile,  thick-chested  he-man  of  the  great  outdoors 
today  as  he  was  when  he  was  making  hair-raising  serials 
in  the  good,  old  Triangle  days.  As  Jack  Fairmeadow 
(swell  name,  that)  Bill  rocks  'em  and  socks  'em  as  of  yore 
and  he  does  it  in  a  way  that  leads  us  to  believe  he  never 
heard  of  Prof.  Steinach  and  wouldn't  give  a  hoot  about 
his  famous  treatment  if  he  did.  Fairmeadow  is  introduced 
as  a  reformed  drunkard  who,  goes  up  into  the  lumber 
country  bent  on  persuading  the  lumberjacks  to  vote  the 


48 


01  "The  Fast 
Worker  ,  " 
with  Reg- 
i  n  a  I  d 
Denny  and 
Laura  La 
P*  I  a  ri  f  e. 
You  will 
enjoy  it 
immensely. 


Q "The  Meas- 
ure of  a 
Man,"  tvita 
W  i  I  I  tain 
D  e  smond. 
It  moves 
along  with 
a  swing- 
ing stride. 


Prohibition  ticket.  Whenever  a 
hunkie  trys  to  bolt  the  party, 
Fairmeadow  stands  ready  to  beat 
him  up  and  preach  the  grapejuice 
gospel  to  him  afterwards. 

Measure  of  a  Man  should  be  the  year's  most  perfect  picture  from  the  stand- 
point of  the  censors.  It's  thoroughly  wholesome  and  in  spots  we  weren't  sure  that 
we  didn't  see  a'  halo  over  Jack  Fairmeadow's  well-shaped  head.  There  isn't  even 
the  usual  love  interest.  For  that  Arthur  Rosson  ought  to  lead  the  Grand  March 
at  the  next  annual  Directors'  Ball.  We  rather  liked  this  picture.  It  moves  along 
in  swinging  stride  unhampered  by  the  swish  of  petticoats. 

THE  CYCLONE  RIDER — Fox — Jimmy  Armstrong  was  doing  construction  work 
on  a  skyscraper  thousands  of  feet  up  from  the  pavements— when  he  fell!  He 
didn't  hurtle  through  the  air  to  certain  death  as  you're  probably  seeing  it  in  your 
mind's  eye.  It  wasn't  that  kind  of  a  fall.  Rather  he  fell  for  the  feminine  wiles 
of  one  Doris  Steele  (they  do  pick  out  such  appropriate  names  for  -steel  magnates' 
daughters)  and  thereafter  the  film  resolves  itself  into  a  mad  chase  for  the  lady's 
favor.  There  are  more  thrills  'to  the  foot  of  film  in  The  Cyclone  Rider  than  titles 
in  a  Cecil  De  MiUe  swimming  tank.  Men  struggle  on  structural  framework  eigh- 
teen stories  above  the  noonday  traffic;  the  hero  races  his  car  off  a  dock  and  lands 
it  squarely  on  the  deck  of  a  ferry  boat  already  ten  or  fifteen  feet  out  in  the 
stream;  an  automobile  turns  turtle  to  avoid  hitting  a  child  playing  in  the  street, 
and  there  is  a  corking  hand-to-hand  fight  in  the  water  mains  way  down  in  the 
bowels  of  the  city.  Reed  Howes,  in  the  role  of  Armstrong,  proves  himself  a 
splendid  stunt  man  as  well  as  an  emotional  actor  of  sorts.  Alma  Bennett  is 
pretty  enough  as  Doris  Steele  but  it  will  take  more  than  soft  focus  close-ups  to 
convince  us  that  this  player  wouldn't  benefit  by 
some  seasoning  in  less  important  roles. 

However,  if  it's  thrilled  you'd  like  to  be,  don't 
miss  The  Cyclone  Rider. 

THE  CLEAN  HEART — Vitagraph — This  is  one 
picture  J.  Stuart  Blackton  can  point  to  in  his  old 
age  and  say:  "That  is  my  gift  to  a  once  sex- 
crazed  picture  world.  It  is  as  clean  as  its  very 
own  title.  It  is  my  best  work  and  I'm  proud  of 
it."  And  whatever  the  director  of  The  Clean 
Heart  will  have  to  say  about  it  in  years  to  come, 
we'll  back  his  every  word  if  we  have  to  get  a  leave 
from  the  Old  Folks'  Home  to  do  it. 

Blackton  has  taken  A.  S.  M.  Hutchinson's 
powerful  novel  and  dramatized  it  in  a  way 
•would  be  a  credit  to  a  Marshall  Neilan  or  an  Ernst 
Lubitsch.  Percy  Marmont  again  scores  in  the  typical 
Hutchinson  character  of  Philip  Wriford  as  he  did  by  his 
memorable  portrayal  of  Mark  Sabre  in  //  Winter  Comes. 
Marguerite  de  la  Motte  plays  Essie  Bickers  so  much  bet- 
ter than  other  roles  she  has  had  that  it  was  hard  to 
believe  it  was  the  same  player.  And  Otis  Harlan— we'll 
never  forget  his  splendid  characterization  of  Puddlebox, 
the  lovable  old  tramp  who  gave  his  life  to  save  Wriford 
from  dying  a  wretched  death  at  the  bottom  of  the  sea. 

This  is  a  film  we  have  no  hesitancy  in  recommending. 
It  is  remarkably  well  acted,  superbly  directed,  and  it  is  a 
sensible  picture  faithfully  adapted  from  a  sensible  book. 

THE  FAST  WORKER — Universal — The  exhibitors  asked 
for  more  Reginald  Denny  pictures,  and  Universal  had  to 

\ 


Ol"The  Measure  of  a  Man]' 
— we  rather  like  this 
picture. 


that 


Q  There  are  more  thrills  in  a 
foot  of  film  in  "The  Cyclone 
Rider"  than  there  are  in  a 
load  of  dynamite. 


let  this  one  go  in  spite  of  the  fact 
that  its  release  was  originally  set 
for  the  Spring  of  next  year.  But, 
as  we  see  it,  The  Fast  Worker  is 
much  too  tantalizing  a  morsel  to 
dangle  before  the  eyes  of  a  waiting 
01  John    Gilbert,    Aileen    public  without  permitting  the  w.p. 


Pringle  and  Elinor 
Glyn  collaborate  to 
make  "His  Hour"  en- 
tertaining. 


just  one  tiny,  little  nibble  at  it. 
The  picture  is  probably  Denny's 
best  since  Sporting  Youth  and,  with 
Laura  La  Plante  on  the  receiving 
end,  the  famous  battery  from  the 
sand  lots  of  Universal  City  will 
probably  hold  the  critics  down  to  a  few  scattered  hits. 

The  story  is  a  rather  uproarious  adaptation  of  George 
Barr  McCutcheon's  The  Husbands  of  Edith  in  which 
Denny  is  called  upon  to  play  the  husband  of  another 
man's  wife.  The  plot  is  too  good  to  give  away  here  but 
be  assured  that  you  will  enjoy  it  immensely.  As  we  did. 
Lee  Moran  plays  a  "straight"  role  in  this  production  but 
the  more  serious  Lee  takes  himself,  the  more  you'll  laugh 
your  head  off.  And  the  more  you  laugh  your— well, 
keep  the  date  open  when  The  Fast  Worker  comes  to  your 
town. 

40 


Norma  T almadge  in 


■  01  Norma  T almadge  and 
Wallace  MacDonald  get 
married. 


THE  LADY" 


01  But  the  baby 
groivs  up  to  love 
a  mother  ixilw 
was  always  "The 
Ladv." 


01  Norma  has  a  lot 
of  luck,  all  bad. 


SO 


*re  -  Showing  of  Feature- 'Pi  1  ms 


He  Who  Gets  Slapped 


Victor  Scastrom's  pro- 
duction lias  more  than 
equalled  the  charm 
of  the  play. 


With  Norma  Shearer 
and  John  Gilbert 


£1 


%ubitsch  directs  Pola  Negri 


•V. 


"Forbidden  Paradise" 
directed  by  Ernst 
Lubitsch  is  Pola  Negri's 
latest  starring  picture. 


Pola  has  a  profile  as 
ivell  as  eyes. 


Rudolph  Valentino  in  «the  sainted  devil" 


"Rudie"  lakes  up  the 
Latin  conquest  again. 


Nita  Naldi  is  able  and  will- 
ing to  fascinate  the  masculine 
part  of  the  audience. 


The  action  of  the 
film  does  not 
suffer  because  the 
hero  is  a  ladies' 
man. 


Rudolph  Valen- 
tino a  virile  type 
■who  has  raised 
the  world's  re- 
spect for  film 
heroes. 


North  of  3 


With  LOIS  WILSON  JACK  HOLT 
and  ERNEST  TORRENCE 


Ernest  Torrence  has 
found  another  part  that 
fits  him  as  'well  as  Lois' 
becoming  costume  fits 
her. 


Jack  Holt  as  Dan 
M  cM  asters  in 
"North  of  36." 


Lois  Wilson  hav- 
ing conquered  all 
on  her  side  of  the 
fence  comes 
North  of  36  to 
win  all  the  male 
honors. 


'/North  of  36"  is  a  thrilling  film.  It 
is  more  than  that — it  makes  you 
glad  you  also  have  a  fight  on  your 
hands. 


<\The  family  secret  comes  out  with  Baby  Peggy  bigger ^ 
and  better  than  ever,  but  not  so  large  but  what  you' 
will  say    'Isn't  Slie  Cute!" 


55 


^l)  r  am  a  I and 


®CIhe  New  Plays  in  New  York, 
Are  They  Movie  Material? 


Y  If  ^HE  funny  thing  about  The  Green  Beetle  at  the  Klaw  Thea- 
ter is  that  it  is  a  terrible  stage  play  and  yet  would  make 
I      a  gorgeous  movie.    If  I  were  the  busy  little  bee  who  has 
such  things  in  charge,  I'd  see  that  Universal  got  the  plum, 

for  I  believe  Carl  Laemmle  would  know  just  what  to  do  with  it. 

First,  he'd  sign  up  Lon  Chaney,  and  then  he'd  also  have  a  grand  use 

for  Mary  Philbin.    I  can't  imagine  a 

role  which  would  suit  her  better  than 

that  of  Elsie  Chandos. 

John  Willard,  who  perpetrated  The 

Cat  and  the  Canary,  is  the  author  of 

The  Green  Beetle,  and  he  was  deter- 
mined to  make  it  the  very  spookiest, 

shiveriest  Chinese  melodrama  pos- 
sible.   As  a  stage  melodrama  it  is  a 

good  comedy.     It  is  excruciatingly 

funny  to  hear  the  American-made 

Chinks    hiss    their    lines    in  long 

speeches  which  are    repeated  over 


Photograph  by  De  Mirjian  Studios. 

Q.Muriel  De  Forrest,  one  of 
the  loveliest.  In  "Artists 
and  Models  of  1924"  at  the 
Astor  Theatre. 


ograph  by  Wide 
Q.  She  is  impo 
pear  in  the 
els"  revue — 


World  Studio. 
rted  from  France  to  ap- 
neav  "Artists  and  Mod- 
Mlle.  Lucyenne  Herval. 


01  Another 
"Artists 
and  Mod- 
els'' princi- 
pal— Flora- 
Lea. 


and  over  to  keep  the  audience  from  forgetting  that  it  is 
all  a  plot  to  avenge  the  death  of  Little  Lotus  Blossom, 
Suey  Yen  (she  doesn't  appear  on  the  program;  she's  killed 
off  before  the  show  starts). 

And  that's  where  the  movie  will  have  it  all  over  the  stage 
play.  Little  Suey  Yen  can  be  shown— oh,  can't  she  just? 
And  the  pathos  can  be  spread  on,  until  strong  men  weep 
and  women  faint  at  her  death  in  China. 

Lon  Chaney  would  be  superb  as  Chang  Hong,  the  role 
played  by  Ian  MacLaren  on  the  stage.  Chang,  you  see, 
56 


had  loved  the  little  lotus  blos- 
som, and  he  had  never  for- 
gotten his  vow  to  kill  the 
man  who  had  caused  her 
death.  So  when  Robert 
Chandos  and  his  wife,  Helen, 
came  all  unsuspectingly  to 
the  curio  shop  of  Chang 
Hong,  in  New  York's  China- 
town, we  know  that  Chang 
is  going  to  wreak  and  wreak 
and  wreak  vengeance.  Chang 
scares  Mr.  Chandos  to  death 
and  drugs  his  wife,  Helen. 
But  wait — Chandos  had  first 
been  presented  with  a  green 
beetle  ring  for  his  five-year-old  daughter,  Elsie.  And  it's  the 
green  beetle  ring  that  leads  Elsie — fifteen  years  later  in 
Act  Two — into  all  sorts  of  trouble,  culminating  in  a  young 
man's  bedroom  in  a  Chinatown  hotel. 

For  the  part  of  the  unheroic  young  man  who  becomes 
a  hero  for  love's  sake,  I'd  choose  Louis  Kimball,  who  plays 
the  part  on  the  stage.  And  if  I'm  any  prognosticator  he 
will  be  out  of  a  job  pretty  soon,  for  the  play  simply  can't 
last  long  on  Broadway.  Kimball  would  play  the  part  bet- 
ter than  any  movie  actor  I  can  think  of,  unless  it  be  Harold 
Lloyd. 

It  is  easy  to  visualize  Leatrice  Joy  in  the  role  of  Helen 
Chandos,  but  she's  under  a  starring  contract  to  Famous 
Players-Lasky.  The  movies  could  make  a  great  role  out 
of  Helen's  part,  while  the  stage  play  can  only  sketch  her 
briefly.  The  unscrupulous  Chang  marries  the  wife  of  the 
man  he  has  frightened  to  death,  but  she  loses  her  memory 
and  reverts  to  childhood.  A  fat  screen  part!  There  are 
two  or  three  other  good  Chinese  parts,  a  splendid  irate 
father  role,  which  is  ably  handled  on  the  stage  by  Edmund 
Elton,  and  which,  if  I  had  my  way,  would  go  to  Theodore 


Roberts  on  the  screen;  and  so 
much  corking  good  comedy 
that  the  screen  could  utilize  to 
the  best  advantage.  Naturally 
the  movie  director  would  in- 
clude a  furious  tong  war,  much 
gorgeous  Chinese  atmosphere, 
and  a  dozen  spooky  thrills. 

THOROUGHBREDS 

Thoroughbreds  at  the  Van- 
derbilt  Theater  is  little 
more  than  a  marvelous  char- 
acter study  of  a  noble  horse- 
thief,  as  portrayed  by  that 
genius,  George  Marion,  of 
Anna  Christie  fame.  As  a 
stage  play  it  may  lack  stamina, 
though  the  sterling  worth  of 
its- cast  and  the  simplicity  and 
force  of  its  pathos  may  keep 
it  in  the  realm  of  "Plays  that 
Continue"  for  quite  a  while. 
But  as  a  movie,  it  seems  to  me 
that  it  would  be  sure-fire  stuff. 
As  with  most  stage  plays  there 
is  an  enormous  lot  of  good 
human  interest  and  picturesque 
by-paths  that  must  be  hinted 
at  rather  than  exploited. 

I  can  see  the  movie  so  clear- 
ly. In  the  first  place  the  scene 
is  in  Kentucky,  the  land  of 
blue  grass,  thoroughbred  wo- 
men and  thoroughbred  horses. 
The  first  order  that  would  go 
out  of  the  scenario  department 
lucky  enough  to  land  the  script 
would  be  for  the  continuity 
writer  to  put  in  a  corking  good 
horse  race.  That  alone  ought 
to  insure  the  success  of  the 
fillum. 

The  play  concerns  itself 
with  a  charming  young  girl 
lawyer,  who  leaves  her  home 
city  of  Lexington  to  practise 
in  Tuckytown  —  charming 
name! — and  the  audience  is 
quickly  let  into  the  secret  by 
the  nefarious  prosecuting  at- 
torney that  the  lovely  little 
blond  lawyer  has  something  in 
her  past  which  will  all  come 
out  before  the  third  curtain. 

And  when  a  horse-thief,  ar- 
rested by  the  young  lawyer's 
sweetheart  for  having  stolen  a 
thoroughbred  from  him,  be- 
comes the  lawyer's  first  client 
and  she  tells  him  that  "some- 
how there  is  a  queer  bond  be- 
tween us,"  we  all  know  that 
the  lovable  old  horse-thief  is 
•  the  girl's  father. 

The  prosecuting  attorney 
tries  to  use  his  knowledge  of 
the  true  state  of  affairs  to 
blackmail  the  girl  into  marry- 
ing him  and  the  noble  horse- 


Photograph  by  Nickolas  Muray. 

Q  Alfred  hunt  and  Lynn  Fontanne,  his  wife,  appearing  in 

"The  Guardsman"  by  Franz  Molnar,  at  the  Garrick  Theatre. 


Photograph  by 
White  Studio. 


Q_Keene  Tunis 
in  "School 
Belles." 


57 


5S 


'SCREENLAND 


thief  father  into  letting  him  do  it.  Of  course  it  doesn't 
work,  and  the  girl  ends  the  play  in  her  father's  arms,  proud 
to  claim  him.    For  has  he  not  stolen  horses  to  support  her? 

George  Marion  makes  the  character  of  "Doc"  Pusey  one 
of  the  year's  real  gems  of  character  acting.  The  company 
fortunate  enough  to  have  the  filming  of  Thoroughbreds  could 
do  no  better  than  to  place  Marion  under  contract.  The  only 
substitute  that  comes  to  mind  is  George  Fawcett.  Probably 
Famous  Players-Lasky  would  do  best  by  this  gentle  study  in 
thoroughbreds,  for  it  will  require  a  lavish 
expenditure,  coupled  with  a  deft  apprecia- 
tion for  the  subtleties  of  the  characteriza 
tions.  Perhaps  John  S.  Robertson, 
who  has  so  successfully  directed 
Richard  Barthelmess  and  May  j§j 
McAvoy  in  The  Haunted  House, 
would  be  the  happiest  choice 
for  director.  For  the  role  of 
Sue  Wynne,  the  girl  lawyer,  I'd  like 
to  see  May  McAvoy  or  Jacqueline  £g£ 
Logan,  if  Ann  Harding  herself 
couldn't  spare  the  time  from  the 
stage.  Miss  Harding's  silver  blond 
hair  and  dainty,  perfectly  formed 

features   should   film  remarkably 

well.    And  she  has  that  unmistak- 
able stamp  of  the  thoroughbred  which  is 

required.   If  I  were  casting  for  the  movie 

I'd  want  Charles  Ogle  for  the  village  judge, 

Katherine  Emmet,  who  creates  the  role 

on   the    stage,    for    Miss  Winchester, 

and  J.  K.  Hutchinson,  also  in  the  stage 

cast,  for  the  sheriff.    And  Richard  Dix 

would  do  nicely  for  the  insistent  young 

man  whose  main  duties  are  to  propose  to 

the  heroine  and  to  clench  his  fists  at  the 

villainous  prosecuting  attorney. 

The  movie  could  do  wonders  with  that 

hinted-at  love  story  of  "Doc"  Pusey  and 

the  little  Kentucky  thoroughbred,  Sue's 

mother.   And  the  comedy  relief  is  already 

so  thickly  peppered  through  the  pathos 

that  adapting  the  thing  would  be  simply  pie  for  the  scenario 

department.    Undoubtedly  we'll  see  Thoroughbreds  under 

a  different  name,  of  course,  as  a  feature  picture  on  Broad- 
way within  six  months. 

BYE,  BYE,  BARBARA 

IT  strongly  suspect  that  Sidney  Toler  and  Alonzo  Price 
it  took  a  dare  off  Billy  DeBeck  to  write  a  musical  comedy 

on  his  line,  "So  I  took  the  fifty  thousand  ."    If  so,  the 

hunch  was  an  unfortunate  one.  It  isn't  pleasant,  even  in 
musical  comedy,  to  see  a  male  parent  so  intent  on  selling 
his  daughter  to  best  advantage  that  he  holds  up  said  daugh- 
ter's fiance  for  fifty  thousand  before  he'll  let  the  engage- 
ment be  announced.  No  one  on  the  stage  at  the  National 
Theater,  however,  seems  to  resent  papa's  mercenary  man- 
ners. There  is  simply  a  mad  scramble  to  get  the  fifty 
thousand,  which  becomes  highly  ubiquitous.  The  funniest 
scene  in  the  alleged  comedy  is  where  the  parachute  jumper 
cuts  the  coat-tails  from  every  guest's  evening  suit  before 
he  finally  locates  the  disappearing  dough.  The  chief  reac- 
tion of  the  audience  is  to  wonder  how  the  coat-tails  are 
neatly  mended  after  each  performance. 

Barbara  Palmer  (Janet  Velie)  is  trying  her  darndest  to 
get  herself  formally  engaged  to  Stanley  Howard  (Arthur 
Burckly),  a  movie  actor  whose  shameful  profession  has 
been  concealed  from  the  male  parent.    Marjorie,  her  sis- 


Photograph  by  Caro  Leonetti 

G[  Rosamond  Plnchot 
as  the  Nun  in  Mor- 
ris    Gcst's  produc- 


tion o  f 
Miracle." 


ter  (Mildred  Keats),  really  puts  Barbara  in  the  background, 
with  her  quickly  cooked-up  romance  with  Phillip  Graham' 
the  movie  actor's  publicity  man.    The  fifty  thousand  is  a 
cash  bonus  paid  over  to  the  wrong  person  by  a  musical 
comedy  Englishman  to  secure  the  movie  actor's  signature 
to  a  British  film  company's  contract.    Graham  is  pulling 
wires  to  get  a  larger  bonus  from  the  company  with  which 
btanley  has  been  working.    That's  all  there  is.    There  isn't 
any  more.    Except  Lillian  Fitzgerald,  who  is  the  hit  of  the 
show  as  Paulette,  and  John  E.  Hazzard,  the 
comedy  support,  in  the  role  of  "the  great 
Karloff,"  parachute  jumper,  who  is  one 
jump  ahead  of  the  village  constable, 
bent  on  arresting  him  for  unpaid 
alimony. 

Hardly  movie  material  here,  ex- 
cept for  Mr.  Sennett's  slapstick 
shop. 

PIGS 

\jow  that  John  Golden,  owner  of 
^  the    Golden    successes,  has 
joined  hands  with  William  Fox  to 
make  these  golden  successes  into 
pictures,  we  can  expect  to  see  Pigs 
on  the  lot  soon.  And  if  intelligently  done, 
what  a  grand  little  hokum  movie  it  would 
be!    It  is  almost  a  Tarkington.    The  chief 
difference  between  this  opus  as  written  by 
Anne  Morrison  and  Patterson  McNutt 
and  the  same  thing  if  it  had  been  written 
by  Tarkington  is  that  the  youngsters  ac- 
tually marry. 

If  William  Fox  does  get  Pigs  I  earn- 
estly hope  he'll  keep  the  kids  as  young 
and  immature  as  they  are  on  the  stage. 
And  I  hope  he  takes  Wallace  Ford  and 
Nydia  Westman  for  the  leading  roles; 
but  if  Miss  Westman  declines  the  honor, 
I  humbly  suggest  Dorothy  Gish,  the  great- 
est little  comedienne  of  them  all.  The 
part  cries  out  for  Dorothy's  zest  and  childish  youthfulness, 
for  her  unerring  comedy  instinct. 

It's  another  of  those  middle-class  home  life  plays  with 
which  New  York  has  been  happily  favored  this  year.  Action 
centers  around  the  home  of  Thomas  Atkins,  Jr.,  who  craves 
$250  with  which  to  buy  pigs.  The  pigs  are  sus- 
pected of  having  the  cholera  and  are,  going  for  a  dollar 
apiece.  But  Mr.  Atkins,  Sr.,  can't  see  the  proposition  at 
all.  Neither  can  Mildred  Cushing's  parents.  This  cold- 
heartedness  is  just  breaking  Tommy's  and  Mildred's  hearts, 
for  they  have  just  become  engaged— at  Mildred's  proposal— 
and  they  must  make  a  start  toward  financial  independence. 

There's  a  lazy  Uncle  Hector  who  won't  work;  a  nagging, 
pompous  Grandma  who  pets  Hector  and  hectors  Junior; 
and  there's  an  older  brother  just  home  from  college  who 
writes  sonnets  to  "Celestia";  and  finally  there's  a  mother— 
a  real,  not  a  stage,  mother,  who  understands  Junior  and 
loves  him  and  defends  him  against  Grandma  and  Uncle 
Hector,  and  even  against  "Papa." 

The  plot  concerns  itself  with  Mildred's  and  Junior's 
schemes  to  get  the  two  hundred  and  fifty  dollars,  their 
unexpected  success,  and  the  happy  ousting  of  Uncle  Hec- 
tor from  the  Atkins  home  into  one  of  his  own  with  a 
girl  he  had  "ruined"  in  the  past.  The  comedy  is  extraor- 
dinarily young  and  vigorous  and  amusing. 


The 


rn 


Photograph  by  Edwin  Bower  Hesser 


%uth  Stonehouse 

'  'In  dimension  and.  the  shape  of  natii re. 
1  a  gracious  person."  —  Shakespeare. 


<JMason 

:'A  new  develop- 
ment of  imagina  - 
tion, taste  and 
poetry. " 

— Channing 


Photograph  by   Edwin    Bower  Hesser 


iiPiiiiiiiH 


Photograph   by   Edwin  Bowc 

'Patsy  %ith  ^Miller 

"Charm  is  the  glory  which  makes  so  fig 
of  the  poet  divine." — -M.  Arnold. 


^Ap pie  ofauce 


By 


Robert  Cyril  O'Brien 


Rex  Ingram  and  party  are  now  in  Europe  (the  place 
where  the  late  war  was  fought,  remember?)  shooting  scenes 
for  Mare  Nostrum,  Metro-Goldwyn's  forthcoming  spec- 
tacular production.  While  we  have  received  no  information 
concerning  what  the  story  is  about,  judging  from  the  title 
we  imagine  it  is  some  kind  of  a  racing  yarn.  Those  things 
are  always  popular. 

Antonio  Moreno,  who  will  have  the  male  lead  in  the  pro- 
duction (that  of  a  jockey  probably),  has  been  practicing  up 
on  his  horsemanship  of  late,  his  instructor  for  a  time,  so 
they  tell  us,  being  none  other  than  the  Prince  of  Wales 
himself. 

Alice  Terry  is  going  to  be  in  the  picture  too.  Oh,  don't 
you  remember  sweet  Alice  in  Scaramouche? 

Willis  Goldbeck,  scenarist,  will  be  responsible  for  the  story, 
an  adaptation  of  the  novel  by  V.  Blasco  Ibanez,  the  author 
of  Blood  and  Sand,  Enemies  of  Women  (as  if  there  ever 
were  any  !),  and  The  Four  Horsemen  of  the  Wecantspellit. 

if  sk  * 

If  all  the  imitators  of  Charlie  Chaplin  were  laid  end  to 
end — why.  we  would  be  more  than  satisfied. 

*  *  * 

Harold  Lloyd,  of  whom  some  of  you  have  probably  heard, 
is  in  Hot  Water.  Harold  will  have  to  discard  those  spectacles 
if  he  ever  wants  folks  to  believe  he's  hard-boiled! 

We  read  recently  that  the  bespectacled  funster  did  not 
always  enjoy  the  prosperity  that  is  his  today.  In  fact  only 
a  few  years  ago  his  modest  ambition  was  to  be  the  proud 
possessor  of  a  silk  shirt!  On  his  present  income  he  can 
wear  dozens  if  he  wants  to— although  it's  hardly  ever  cold 

enough  in  California  for  that! 

*  *  * 

The  secret  is  out  at  last!  No  longer  can  Milton  Sills 
hide  his  past !  Milt  is  a  Doctor  of  Philosophy !  It  happened 
before  he  ever  thought  that  the  day  would  come  when  he 
would  be  a  screen  idol.  And  not  long  ago  we  saw  him  in 
The  Sea  Hawk  and  never  even  knew  it.  He  was  a  galley 
slave  in  that  picture.    A  Ph.D.  galley  slave!    It  all  seems 

so  terrible  we  shudder  to  think  of  it ! 

*  *  * 

Unless  somebody  is  lying,  which  isn't  at  all  unlikely,  Baby 
Peggy  receives  on  an  average  of  eighty  proposals,  of  mar- 
riage per  week.  She  rejects  them  all,  insisting  that  her 
career  comes  first. 

"I  realize  that  I  may  be  thought  idiosyncratic  for  saying 
so,"  she  remarked,  through  an  interpreter,  to  several  inter- 
viewers the  other  day,  "but  in  my  opinion  all  men  are  alike, 
and  I  am  interested  in  one  no  more  than  in  another.  Of 
course,  it  might  be  different  if  some  gentleman  who  owned 
a  candy  store — " 

Here  the  lady's  mouth  commenced  to  water  and  she  be- 
came so  excited  that  she  almost  fell  out  of  her  high  chair. 
*       *  * 

There  was  a  time  when  an  actress,  in  order  to  be  suc- 
cessful, had  to  know  how  to  wear  clothes. 


Our  Own  Answer  Department. 

Inquisitive — The  screen  star  you  mention  says  it's  none  of 
your  business  whether  he's  married  or  not. 

Dumbelle — Will  Hays  is  not  an  actor.  How  do  I  know 
what  he  uses  on  his  hair? 

Worried — If,  as  you  say,  the  hat  holders  under  the  seats 
are  all  busted,  keep  your  hat  on. 

Ambitious — You  want  to  know  how  many  actors  and 
actresses  work  in  Hollywood?   Very  few  of  them. 

*  *  * 

They  say  Buster  Keaton  hasn't  laughed  since  Bryan 

stopped  running  for  president. 

*  *  * 

When  the  movie  critics  finally  get  to  reviewing  the  news 
reels  (as  they  should),  we  may  expect  something  like  this: 

Pictorial  News  (23),  a  drama  in  many  scenes.  Cast: 
Secretary  of  the  Navy  Curtis  Wilbur,  Premier  Herriot  of 
France,  Football  Heroes,  Daredevils,  Policemen.  Firemen. 
Beauty  Contest  Winners,  Prohibition  Enforcement  Agents. 
Benito  Mussolini  and  others. 

The  plot  of  this  picture  is  absurd.  Just  to  give  you  an 
idea  we  append  a  synopsis. 

Several  thousand  school  children  call  on  Secretary  of  the 
Navy  Wilbur,  present  him  with  a  miniature  battleship  made 
from  clam  shells  and  invite  him  to  attend  a  carnival  at  Nice. 
France.  The  scene  quickly  changes  and  we  find  ourselves 
watching  the  merrymakers  parading  through  the  gaily-be- 
decked streets  of  the  famous  resort.    (Clear  enough  so  far.) 

But,  instead  of  seeing  the  Navy  Chief  at  the  glorified  block 
party,  who  do  we  notice  but  Premier  Herriot.  It  is  obvious 
from  the  ensuing  scenes  that  the  reason  Wilbur  could  not  be 
present  was  because  he  had  to  attend  the  Army-Navy  foot- 
ball game  which  occurred  a  few  moments  later.  Next  we 
see  a  man,  undoubtedly  despondent  because  of  the  outcome 
of  the  contest,  all  ready  to  jump  off  Brooklyn  Bridge.  Then 
several  prohibition  enforcement  agents  empty  ever  so  many 
barrels  of  perfectly  good  hooch  into  the  Hackensack  river. 
(Oh  maybe  it  was  the  East  River  they  emptied  it  into.  We 
are  a  little  befuddled  here.  Now,  if  it  was  the  East  River, 
that  would  supply  a  better  motive  for  the  man  getting  ready 
to  jump  off  the  Brooklyn  Bridge.  Yes,  that  seems  more 
plausible.)  Then  comes  the  cyclone  in  Kansas  (which  is 
very  realistic),  and  thousands  are  left  homeless.  Mussolini 
hears  of  this  and  immediately  lays  the  cornerstone  of  a  hos- 
pital in  Milan.  Then,  for  no  reason  at  all,  some  fashions 
are  exhibited.  All  this  time  the  poor  unfortunate  in  Kansas 
remain  homeless.  A  train  speeding  to  their  relief  collides 
with  an  automobile  and  the  sad  news  is  conveyed  to  the 
Marines  who  are — you'd  never  guess — who  are  re-enacting 
the  Battle  of  Gettysburg  on  the  very  same  ground  that  the 
battle  was  originally  fought  on.  They  start  on  the  run  and 
arrive  just  in  time  for  the  Bathing  Girl  Parade  which  is 
being  held  in  Pasadena  (if  that  town  is  on  the  ocean,  al- 
though that  isn't  entirely  necessary). 
That's  the  best  we  could  make  out  of  it. 

63 


UPID  is  so  active  these  days  that 
it  is  hard  to  keep  up  with  him. 

Marie   Prevost  and  Kenneth 
Harlan  are  going  to  be  married 
in  two  or  three  months,  Marie  says. 

"But  we  are  both  working  now,"  said 
Marie  the  other  day,  "and  we  want  to 
wait  until  we  shall  have  time  for  a  trip. 
We  do  so  want  to  go  abroad,  but  I  don't 
know  whether  we  shall  be  able  to  go  so 
far  away  or  not.  But  at  any  rate,  we  want 
a  trip  of  some  sort.  And  we  want  to  build 
a  home,  too.  I  think  married  people 
should  have  their  own  homes  and  a  home 
life  even  if  they  do  happen  to  be  actors." 

So  Agnes  Ayres  and  Manuel  Reachi  were 
married  all  the  while— at  least  all  the 
while  for  two  months — without  anybody 
finding  it  out!  They  were  married  down 
in  Mexico.  Just  as  soon  as  Miss  Ayres 
finishes  her  picture  they  will  go  abroad  for 
a  honeymoon.  They  expect  to  go  to  Spain, 
as  Reachi  has  some  relatives  there,  and  of 
course  Miss  Ayres  will  want  to  shop  in 
Paris. 

"I  look  forward  to  the  castles  of  Spain 
and  the  shops  of  Paris,"  explained  Miss 
Ayres.  "Wouldn't  it  be  wonderful  if  we 
met  King  Alphonso!  I'm  not  presuming, 
of  course,  to  say  that  we  shall  have  that 
honor,  but  with  Mr.  Reachi's  political  con- 
nections in  Mexico  it  seems  quite  possible, 
doesn't  it?" 


Gag-men  are  not  used  in  photo-dramas 
because  producers  are  afraid  they  might 
sneak  hi  a  laugh  and  wake  up  the  audi- 
ence. 


As  for  Bert  Lytell  and  Claire  Windsor, 
they  are  parted,  as  Bert  has  gone  to  Tahiti 
to  make  a  picture.  Claire  had  wanted  to 
go  with  him  on  the  trip  but  the  Metro- 
Goldwyn-Mayer  people  wouldn't  release 
her,  so  she  is  staying  behind.  She  went  to 
San  Francisco  to  see  him  off  on  the  boat 

64 


By  Grace  KJngsley 
G.  W.  Marion 


epigrams  by  H.  B.  K.  WILLIS 


When  Bert  Lytell  and  Claire  Windsor  parted  and 
Bert  sailed  away  to  Tahiti  to  make  a  picture, 
they  put  a  note  of  sincerity  into  the  pantomine  of 
farewell  that  surpasses  the  very  high  grade  screen 
product  'which  they  are  able  to  deliver. 


that  carried  hi 
the  South  Seas, 
ever. 

"It  surely  brc 
both   all  up 
parted,"  said 
"but  perhaps  t 
be  the  test." 

Bert  and 
have    been  s 
each  other  radio 
sages,  but  as  thei, 
only  one  boat  whic. 
plies  between  Tahiti 
and    San  Francisco, 
and  as  Lytell  and  the 
rest  of  the  company 
will  return  on  it  the 
next  trip  it  makes  to 
this  country,  of  course 
they     cannot  even 
correspond  during 
the  separation. 

"I'm    going  about 
very  little,"  said  Claire. 

They  cannot  be  married  for  more  than  a  year,  as  Bert 
has  not  yet  secured  his  interlocutory  decree  of  divorce. 
This,  though,  is  expected  about  Christmas  time. 

Then  there  are  Larry  Semon  and  Dorothy  Dwan,  who 
are  to  be  wed  within  a  couple  of  months.    Larry  is  deeply 
devoted  to  Miss  Dwan,  who  is  a  sweet  little  girl  just  out 
of  the  convent,  according  to  report  and  appearances. 
Of  course  they  are  going  to  Europe  too. 


Dorotliy  Divan  ivho  is  to  marry 
Larry  Semon.  She  is  practising 
up  so  that  she  can  put  her  cold  feet 
on  Larry's  back. 


Betty  Compton's  past  "pitchers"  have  always  shown  plenty 
of  curves — her  own  and  lightly  clad — but  in  "Female,"  her 
latest,  she  doesn't  even  shed  a  tear. 


And  by  the  time  this  is  printed,  doubtless  Eddie  Lowe  and 
Lilyan  Tashman  will  be  married.  Here  is  a  case  of  deep 
devotion  through  three  years.  Despite  the  fact  that  they 
have  been  parted  a  great  deal,  owing  to  different  pictures 
in  which  they  were  working,  one  in  New  York,  the  other 
in  Hollywood,  they  haven't  even  had  a  quarrel  or  a  mis- 
understanding, they  say. 

"Well,  we  have  a  sort  of  understand- 
ing that  each  is  to  close  the  ears  to 
gossip  about  the  other,"  said  Lowe. 
"Yet  we  don't  try  to  curtail  each  oth- 
er's liberty.  It  has  worked  out  fine 
for  us  so  far." 

The  pair  are  figuring  on  buying  a 
beautiful  home  in  Pasadena — a  place 
which  Lilyan  discovered  one  day  when 
working  over  there  on  location. 

Charlie  Murray  is  a  grand-dad.  His 

daughter,  who  was  married  a  couple  of 

years  ago,  has  given  birth  to  an  heir. 

Charlie  is  as  tickled  as  a  kid  with  a 

new  toy.    He  has  given  the  baby  a 

gold  ring,  a  Teddy  bear  and  a  slice 

of  Hollywood  real  estate.    The  baby 

likes  the  Teddy  bear. 

Winifred    Hart  has  moved   to  a 

house  within   stone's  throw  of  the 

home  of  William  S.  Hart.    Little  Bill 

Hart,  big  Bill's  son,  had  a  birthday  the 

other  day,  and  big  Bill  sent  the  young- 
ster  a   whole   cartload    of  presents. 


.  c 

;//ed  at 
,in  Camp  in 
uie  high  Sierras  to 
appear  in  location 
scenes  for  "The  Bor- 
der Legion,"  they  dis- 
covered the  youngest 
mountain  guide  in  the 
country. 

He  is  Lee  Summers,  eleven-year-old  native  of  Mono 
County,  California,  and  he  has  never  seen  a  street  car  or 
a  motion  picture,  but  he  can  read  trails  like  a  veteran. 

The  boy  became  a  valuable  aid  to  the  movie  players  dur- 
ing their  month's  sojourn  in  the  uninhabitated  altitudes  of 
the  mountains  which  are  seldom  reached  by  tender-feet. 

Aside  from  his  talents  as  a  guide  little  Lee  Summers  can 
shoot,  ride  and  throw  a  lariat  with  the  best  of  them. 

The  movie  camera  proved  a  source  of  wonderment  for 
Lee,  and  changed  his  life's  ambition  from  that  of  becoming 
the  leading  guide  of  the  country  to  a  movie  photographer. 

These  are  yachting  days  for  John  Bowers.  Bowers  has 
chartered  a  yacht  and  is  cruising  southward  around  the 
Coronado  Islands,  Catalina,  and  off  the  lower  California 
coast,  sailing  as  far  equator-ward  as  Ensenada  harbor. 

Bowers  is  crazy  about  life  on  the  ocean  wave,  and  about 
the  only  complaint  he  has  to  find  with  pictures  is  that  they 
deprive  him  so  long  of  nautical  pleasures  that  he  loses  his 
sea  legs. 

Jack  Gilbert,  who  is  being  divorced  from  Leatrice  Joy, 
sees  his  baby,  little  Leatrice  Joy,  Jr.,  quite  often,  and  of 
course  is  crazy  over  her.  Friends  say 
that  it  is  through  the  baby  the  two 
may  be  reconciled.  Which  will  be  just 
like  a  picture  plot,  won't  it? 

Miss  Joy  is  shortly  moving  back 
from  the  hospital  to  the  home  which 
she  and  Jack  formerly  occupied.  Jack 
had  a  sweet  little  nursery  fixed  up  ad- 
joining his  wife's  bedroom  before  the 
two  separated. 


Sir  James,  himself,  picked  Betty 
Bronson  for  the  Maud  Adams  "Peter" 
role  and  the  2,567  disappointed  aspi- 
rants for  the  part  have  him  on  the 
"Pan"  for  it  in  a-  perpetual  "razz-Bar- 
rie." 


Agnes  Ayres  is  noiv  making 
"World  Goods"  with  Pal 
O'Malley. 


Speaking  of  babies.  Katherine  Mc- 
Donald, who  retired  from  the  screen 
a  couple  of  years  ago  to  marry  a  Mr. 
Thompson,  wealthy  financier,  and  who 
is  now  living  in  Los  Angeles,  is  shortly 
to  become  a  mother. 


65 


■ewspapers.  but 
i  if  not  a  little 
new  two  reelers 
the  perfectness 
that  Dempsey 
Others  say  the 
'mply  makeup. 

F.B.O.  comes 


Jack  Dempstj, 
mother  visits  the 
champion  at  Uni- 
versal City  and 
meets  Joe  Ben- 
jamin, J  a  c  k's 
friend. 


Robert  Frazer, 
appearing  in 
"Women  Who 
Wait,"  the 
Cape  Cod 
picture. 


Mary  MacLaren, 
Katherine's  sister,  is 
in  Los  Angeles,  and 
expects  to  go  to  work  in  pictures  again. 

Now  that  'they've  put  the  world  at  rest  about  who  will  play 
'"Peter  Pan,"  along  comes  the  question  of  who  will  play  the 
lead  in  "The  Merry  Widow,"  Von  Stroheim's  next.  Like 
'"Peter  Pan,"  it's  going  to  be  very  hard  to  suit  everybody. 
First  the  part  was  to  be  Norman  Kerry's,  then  it  was  for  Robert 
Frazer,  then  John  Gilbert,  and  back  again  to  Kerry.  But 
some  sage  says  that  Kerry  is  signed  to  star  for  Universal. 
If  that's  the  case  he's  eliminated  in  any  Stroheim  picture. 
Robert  Frazer  doesn't  seem  to  be  just  the  one  for  the  part, 
and  Gilbert  is  reported  as  signed  to  play  the  lead  in  still  an- 
other picture.  The  only  one  who  isn't  talking  is  Von  Stroheim 
himself.  Like  all  good  politicians  he  usually  has  a  dark  horse, 
and  this  looks  like  the  time  for  him  to  spring  something! 
Everybody  always 
talks  about  him, 
anyway,  and  he 
might  as  well  give 
them  something  to 
talk  about. 

Estelle  Taylor,  it 
seems,  is  about  the 
most  important 


iO  his  production 
.ed  picture  he  has 
-t — to  the  cast  of  his 
/iiat     Including  Hiers, 
er  far-around  players,  the 
now  comes  to  about  three 
s  pretty  good. 
±eft  Famous  Players — a  friendly 
-  ms  contract — to  become  Constance 
^miauge's  leading  man  and  to  take  advantage  of 
numerous  very  flattering  offers.    Tony  says  there 
is  nothing  like  free-lancing  to  choose  the  parts  you 
want  to  play— that  he  doesn't  believe  in  letting  the 
servants  enjoy  his  palatial  home  in  the  Hollywood 


Walter  Hiers 
Thanksgiving 


tvith 
Day 


his  special 
expression. 


Antonio  Moreno.  Leading 
man  for  Constance  Tal- 
madge's  next  picture. 


hills  while  he  makes  "westerns"  on  our  well-known  American 
desert  locations. 

Whether  or  not  you  like  Zasu  Pitts  or  her  newest  pro- 
duction, "The  Fast  Set,"  there's  one  thing  in  the  picture 
that  will  touch  the  heart  of  every  woman  who  sees  it. 
Were  you  ever  the  possessor  of  a  nice  "fox"  neck-piece?  I 
don't  know  what  there  is  about  a  fox  fur,  but  you  simply 
have  to  catch  it  by  the  head,  hold  it  at  arm's  length  and 
give  it  a  good  shaking!  How  it  helps  the  fur  along  is 
quite  a  mystery,  but  every  woman  does  do  it,  and  Zasu 


66 


Directo 
Island. 


Otto  and  some  of  the  mermaids  for  the  Fox  -picture  "Neptune's  Romance"  which  is  being  made  at  Santa  Cruz 
After  one  look  at  this  picture,  tue  guarantee  that  you  will  see  the  film  at  the  first  possible  opportunity. 


Pitts,  with  her  old  worn  out  white-fox,  sends  through  you 
an  intimate  little  feeling  that  that's  just  your  stuff  she's 

Ij  doing.    But  the  male  part  of  the  audience  can't  understand 

'i  it  at  all! 

For  the  second  time  Pola  Negri  is  having  her  portrait 
painted— by  Styka,  world  famous  artist  and  madly,  jealously 
but  uselessly  in  love  with  La  Belle -Negri.    The  first  por- 

|  trait  Styka  gave  to  Pola,  who  promptly 
presented  it  to  that  tragedian,  Charlie 

\  Chaplin.    The  second  work  the  artist 

I  is  going  to  hang  on  to.  Pola  remarks 
that  mentally  Styka  is  most  brilliant  ' 

i1  and  interesting,  but  physically  is  not  at 
all  beautiful  to  look  upon.    If  he  would 

|  win  favor,  poor  Styka  should  read  old 
Mr.  Bunkem's  advertisements  and  dis- 
cover the  glowing  beauty  secrets  therein 

i  revealed. 


Kansas  City  Board  of  Education  has 
adopted  'Motion  picture  courses.  Pretty 
soft  for  the  truant  officer. 


The  latest  Bull-evard  extra  is  that 
Bull  Montana  will  play  '  Dr.  Jekyll  and 
Mr.  Hyde" — to  show  up  John  Barry- 


Elmo  Billings  has  played  hi  more  than  a 
dozen  big  pictures.  This  is  from 
"Locked  Doors,"  a  William  DcMillc  film. 


more.  The  only  trouble  is  that  Bull  is  too  good  natured 
to  play  the  part  of  the  dastardly  "Mr.  Hyde." 

The  most  astonishing'  part  of  the  recent  Agnes  Ayres- 
Reachi  marriage  is  the  proof  that  a  woman  can  keep  a 
secret !  For  two  whole  months  Agnes  stuck  to  her  colors 
and  fooled  the  public  by  keeping  her  marriage  strictly 
private.  Three  months  ago  her  name  was  invariably  coupled 
with  that  of  Ricardo  Cortez.  The 
<:movie"  folks  sure  keep  us  guessing! 
To  remember  'em  all  you  have  to  have 
'em  in  writing.  Here  are  some  of  them, 
announced  and  rumored  : 

Agnes    Ayres    married  to 
Manuel  Reachi. 
Betty  Compson  engaged  to 

Jim  Cruze. 
Patsy  Ruth  Miller  engaged  to 

Matt  Moore 
June  Mathis  engaged  to 

George  Walsh. 
Larry  Semon  engaged  to 
Dorothy  Dwan. 
Claire  Windsor  engaged  to 
Bert  Lytell. 
Lew  Cody  engaged  to  Nora  Bayes. 
Marie  Prevost  engaged  to 

Kenneth  Harlan. 


Xarry  of' emon  KNOWS 


WHY 


By  Yynde  'Denig 


T 


HE   American  sense 
of  humor  is  chang- 


mg. 

College  professors 
have  accused  us  of  being  low 
in  our  estimate  of  what  is  and 
is  not  humorous,  but  Larry 
Semon,  motion  picture  com- 
edian, who  has  been  making 
America  laugh  over  a  period 
of  nine  years,  and  who 
speaks  with  the  practical 
knowledge  of  one  who  has 
studied  the  whys  and  where- 
fores of  comedy  during  all 
that  time,  states  that  we  are 
improving.  Semon  points  to 
his  latest  production,  "The 
Girl  in  the  Limousine." 

"I  can  see  as  plainly  as  if  it 
were  written  on  the  wall," 
states  the  comedian,  "that 
there  is  under  way  an  evolu- 
tion in  the  American  sense  of 
humor.  Perhaps  it  is  because 
we  are  becoming  more  ele- 
vated and  refined;  perhaps  it 
is  because  we  have  grown 
weary  of  the  old  methods 
used  by  stage  and  screen 
comedians  for  winning  laughs. 
It  takes  brains  to  make  a 
comedy  these  days. 

"The  difference  between  the 
motion     picture     comedy  of 

seven  years  ago  and  that  of  today  is  simply  this:  then  we 
used  to  depend  on  mechanical  tricks.  Some  one  fell  into  a 
tub  of  mortar  or  was  pushed  into  a  lake.  A  dozen  absurd 
policemen  drove  madly  about  in  an  automobile  that  sud- 
denly fell  to  pieces  or  was  blown  up  in  a  cloud  of  smoke. 
Today  it  is  different.  We  are  forced  to  depend  upon  comic 
situations.  It  is  the  expression  on  a  man's  face  when  he 
finds  his  wife  glaring  at  him  in  a  compromising  situation 
that  wins  the  laugh. 

"In  'The  Girl  in  the  Limousine'  there  is  a  situation  where 
a  bashful  young  man,  played  by  himself,  is  captured  by 
robbers  and  locked  in  the  room  of  the  girl  he  loved  in 
silence.  It  is  a  situation  that  makes  people  laugh.  There 
is  no  horseplay  or  rough  house.  An  expression  on  a  man's 
face— the  mere  raising  of  an  eyebrow— and  not  a  trap 
door  that  suddenly  opens  and  swallows  him,  is  deemed 
funny. 

"All  this  means  that  the  art  of  pantomine  must  be  de- 
veloped and  improved.  And  this  is  what  has  happened 
with  the  screen  comedians.  The  successful  comedian  of 
today  must  not  simply  grimace  and  gesticulate  wildly  He 
must  have  restraint;  he  must  get  the  utmost  out  of  a 


CI  Few  people  know  that  Larry  Semon 
who  writes  his  own  comedies  was 
a  few  years  ago  the  sport  cartoonist 
of  the  New  York  Sun. 


68 


humorous  situation  by  some 
simple  expression  or  gesture. 

"Not  only  the  movies,  but 
the  vaudeville  stage,  prove 
this  point.  The  rough  and 
tumble  act  is  passing,  and  the 
act  with  a  more  delicate  and 
subtle  humor  is  in  vogue. 

"I  do  not  mean,  of  course, 
to  condemn  all  that  is  gener- 
ally known  as  'slapstick.'  But 
if  slapstick  is  to  be  indulged 
in.  then  there  must  be  some 
logical  reason  for  it  in  the 
story.  That  is  why  a  knowl- 
edge of  how  to  construct  a. 
story  is  essential  for  a  com- 
edian or  a  comedy  director  to- 
day. He  must  be  a  dramatist. 
Seven  years  ago  he  might 
have  been  a  mechanic  and 
nothing  more. 

"Another     quality    that  is 
essential  to  a  good  motion  pic- 
ture comedy  today  is  thrills. 
A  humorous  situation  is  twice 
as  valuable  when  it  follows 
some    thrilling    episode  that 
leaves  an  audience  tense  and 
excited.     Their  emotions  are 
wrought  up;   they  are  eager 
and  willing  to  laugh  at  some 
funny  scene.    In  'The  Girl  in 
the  Limousine'  there  is  what  I 
believe  the  strongest  series  of 
thrills  ever  incorporated  in  any  one  picture.  "  Certainly 
never  in  my  long  experience,  and  I  have  appeared  in  al- 
most three  hundred  comedies,  have  I  ever  worked  so  hard 
or  suffered  such  narrow  escapes  from  injury  and  death  for 
the  sake  of  an  exciting  sequence.    There  is  a  race  along- 
side of  an  express  train.   A  motorcyclist  is  trying  to  escape. 
He  is  followed  by  a  limousine,  which  in  turn  is  chased  by 
another  motorcycle,  and  this  again  followed  by  another 
machine.    The  motorcycle  passes  in  front  of  the  train  at 
the  rate  of  forty  miles  an  hour.    The  limousine  is  skidded 
so  that  it  makes  two  complete  circles.    It  must  be  remem- 
bered also  that  every  time  a  heavy  limousine  skids  there  is 
danger  that  it  will  overturn.    And  I  was  forced  to  skid 
this  car  twenty-seven  times  in  order  to  film  the  scene 
correctly! 

"I  mention  this  simply  to  show  that  the  thrills  in  this 
pictures  are  about  as  vivid  as  any  one  could  wish  to  see. 
But  immediately  after  the  thrills  comes  more  comedy —  and 
I  have  never  heard  any  audiences  appreciate  humorous 
situations  more  than  at  this  part  of  the  picture." 


Pre  -  Showing  of  Featu|,&vFilms 


Co ri nne  Griffith 


in 


Wilderness 


Corirme  as  "Linda  Lou" 
being  persuaded  by  Ian 
Keith  as  Paul  U  Es- 
trange to  elope  v.-itli  him 
to  Canada. 


Linda  Lou  re- 
ceives 'word  that 
her  husband  is 
dead. 


Beautiful  Corirme  Grif- 
fith adding  daily  to  her 
glorious  reputation  a 
yet  more  glorified  record 
as  an  actress. 


Corinne  Griffith 
and  lan  Keith 
discussing  ziays 
and  means  of 
making  both  ends 
meet. 


Corinne  Griffith 
as  "Linda  Lou 
Heath"  in  "JFil- 
derness.'' 


69 


Colleen  Moore  in  "so  big" 


Colleen  Moore  and  Wallace  Beery 
in    the  First   National  Picture  of 
Edna  Ferber's  book. 


Colleen  Moore  being  very 
pensive.  She  puts  over  "So 
Big"  and  adds  to  her  grow- 
ing reputation. 


Jean  Hersholt,  Charlotte  Merriam 
and  Colleen  Moore.  "So  Big"'  gives 
Colleen  her  best  opportunity. 


70 


"Nothing  Today" 

Q  On  "location"  with  the  primitive  elements  as  primitive 
as  love  itself  to  test  the  strength  of  a  woman's  heart 

By  Hamilton  Thompson 


Peggy  Dixon,  extra  girl  for  the  Crimerian  Films 
Incorporated,  admits  two  things— first,,  she  wants  to 
be  featured;  and  second,  she  thinks  Ned  Blystone, 
the  leading  man,  is  perfection  plus.  She  is  selected  to 
go  "on  location." 

Her  crowd  celebrates  with  a  restaurant  dinner,  and 
here  Peggy  steps  right  into  Ned  and  the  leading  lady, 
Gloria  Thomas.  The  look  which  Ned  bestows  upon 
Peggy  arouses  something  in  the  eyes  of  Gloria  which 
bids  fair  to  make  life  interesting. 

Perhaps  you  woidd  like  to  read  the  first  installment 
for  yourself.  If  so,  send  25c  and  we  will  mail  you  a 
copy. 


(Concluded) 

OIS  and  the  others  seated,  four, dinners  were  ordered 
by  the  time  that  Peggy  reached  the  table.  Lois 
vnow  was  smiling  sweetly  across  at  her  room-mate. 
"Why  didn't  you  drop  dead  and  call  it  a  week?" 

she  inquired.  . 

"That's  Ned  Blystone,  isn't  it?':  inquired  bid  who  had 
taken  in  the  incident  with  inward  qualms. 

Peggy  nodded,  now  fully  in  command  of  herself,  con- 
scious of  the  little  ripple  of  excitement  that  her  meeting 
with  the  Crimerian  star  had  aroused. 

"We're  going  to  work  together  in  the  next  picture  .  .  . 
on  location."  She  was  trying  her  best  to  speak  as  if  it  were 
a  matter  of  no  great  moment  but  Sid  read  between  the 
lines.    "We  expect  to  leave  next  week." 

"Oh,  do  we,"  said  Lois  with  aggravating  interest.  Then, 
with  a  twinkle  in  her  eye,  for  the  benefit  of  Sid  who  had 
suddenly  become  rather  gloomy,  "Look  to  your  spurs,  Sir 
Galahad.  This  is  apt  to  prove  an  error  of  the  old  saw  that 
a  lean  horse  wins  a  long  race." 

When  Peggy  said  good  night,  hours  later,  after  an  extra 
orgy  at  a  movie  house  where  a  Crimerian  picture  was  being 
shown  .  .  .  she  had  selected  the  spot  ...  she  told  Sid 
that  she  had  enjoyed  a  perfectly  spiff y  evening  and  that  he 
was  an  old  darling.  Sid,  as  he  trudged  homeward  with 
Bert,  heavy-hearted,  was  certain  of  the  genuineness  of  his 
late  companion's  statement,  but  had  the  sickening  convic- 
tion that  he  had  not  been  wholly  responsible  for  her  en- 
joyment, a  condition  that  he  would  have  given  his  soul  to 
have  accomplished. 

"He  knows  I'm  alive,  anyway,"  Peggy  whispered  to  her- 
self as  she  settled  down  in  her  cot  and  drew  the  comforter 
up  about  her  chin.  Then  Browning's  words  came  back 
to  her.  But,  at  the  moment,  she  was  too  supremely  happy 
to  hearken  to  the  advice  of  a  man,  even  a  man  as  sage  and 
wise  as  the  kind-hearted  scenario  editor.    It  had  been  a 


day  of  glorious  adventure.  She  closed  her  eyes,  sighed, 
and,  being  a  normal,  healthy  creature,  fell  directly  to  sleep. 

Peggy  sensed  a  new  and  highly  gratifying  sensation  when 
she  entered  the  Crimerian  studio  ihe  next  morning.  The 
underground  had  been  at  work  while  the  bright  lights  of 
Broadway  blazed  their  welcome.  Three  out  of  every  four 
among  the  horde  of  patiently  waiting  extras  had  heard  the 
news  that  she  was  to  have  a  bit.  They  crowded  about  her, 
showering  their  congratulations,  genuine  most  of  them. 
She  left  them,  exchanged  a  cheerful  good  morning  with 
Lucius,  urbane  and  pleasant  as  ever,  and  started  for  the 
dressing  rooms.  This,  at  last,  was  a  real  step  upward. 
She  carefully  penciled  her  left  eye.  No  detail,  from  now 
on,  was  too  slight  to  receive  the  most  painstaking  consid- 
eration. 

Out  on  the  studio  floor,  she  sensed  an  unmistakable  air 
of  suppressed  excitement.  Jordan,  Gloria  and  Ned  were 
in  conference  by  the  edge  of  the  big  set  that  was  to  be 
used  for  the  first  time.  The  carpenters  were  still  putting 
on  the  final  hurried  touches.  The  property  men,  always 
important  individuals  in  their  own  eyes,  fluttered  here  and 
there  as  if  the  weight  of  a  dozen  features  were  on  their 
shoulders.  Browning  and  Dion  entered  and  joined  the  little 
group  at  the  set.  Assistants  who  had  been  sprawled  all  over 
the  big  studio  the  day  before,  and  the  day  before  that, 
were  displaying  commendable  energy. 

Peggy  crossed  to  the  second  cameraman,  Ed  Seeley, 
good-natured  and  red-headed,  who  had  seen  more  of  the 
world  than  a  Marine  Poster  guarantees  those  who  answer 
its  call.  He  alone  seemed  unruffled,  unimpressed,  abso- 
lutely devoid  of  any  suppressed  emotion.  When  a  man  has 
helped  film  everything  from  the  welcome  of  the  Prince  of 
Wales  in  India  to  a  charging  lion  in  Africa,  he  gets  that 
way.  Peggy  looked  up  at  him  and  nodded  towards  the 
little  group  of  earnest  consulters. 

"Why  the  cataclysm,  Ed?"  she  inquired. 

The  cameraman  turned  from  his  machine  to  Peggy. 

"Santa  Claus  is  coming  to  see  us."  His  tone  still  fur- 
ther indicated  how  little  he  was  impressed  by  the  momen- 
tous occurrence  that  trembled  on  the  edge  of  the  near 
future.  "The  big  boss  is  expected  to  blow  in  and  see 
how  things  are  shaping  up.    Look  your  prettiest." 

"Me?"  Peggy  answered  the  cameraman's  smile  with 
one  of  her  own.    "I  hope  he  likes  my  make-up." 

There  was  a  quick,  simultaneous  move  on  the  part  of 
ever\r  member  of  the  group  who,  but  a  second  before, 
had  seemed  oblivious  to  everything  but  their  own  business. 
They  faced  smiling  the  word  welcome  written  in  blazing 
letters  all  over  them.  The  great  man  had  arrived  on  the 
floor. 

Peggy  glanced  in  the  direction  their  eyes  had  taken.  She 
saw  a  keen-eyed  man,  who  looked  as  if  he  might  be  almost 
any  successful  business  man.  But  she  knew,  as  every  man 
and  woman  in  the  big  studio  knew,  that  he  was  Max  Storer, 

71 


P 


72 


SCREENLAND 


the  man  whose  imagination,  organizing  ability  and  shrewd 
understanding  of  what  the  public  at  large  wants  in  the  form 
of  entertainment, .  had  -lifted  the  Crimerian  Films  Incor- 
porated to  the  point  where  it  was  one  of  the  biggest  factors 
in  the  film  "world.  V"  ;;, 

Director  Jay  Jordan,  with  Ned  .Blystone  but  a  step  or 
two  behind  him,  and "  even  '  Gloria  -  Thomas  momentarily 
forgetting  herself  so  far  as  to  join  the  select  coterie,  crossed 
quickly  to  Storer.  The  big  man  acknowledged  the  greet- 
ings of  his  people  but  there  was  no  arrogance,  no  ego  vis- 
ible in  his  manner;  nothing  but  a  keen  interest  in  every- 
thing on  the  floor.  Max  Storer  had  not  forgotten  the  days 
when  he  was  a  poor  man  in  Chicago;  the  long,  lean  years 
before  he  sensed  "the  money  to  be  wrung  from  films.  He 
had  learned  that  fortunes  are  capricious  things  and  that 
results,  not  volubility,  were  the  things  that  counted  in  the 
gamble  of  hundreds  of  thousands  on  a  single  throw. 

Peggy  saw  Jordan,  as  he  crossed  the  studio  beside  his 
chief,  point  to  the  set  with  pride.  In  the  silence  that 
hung  about  the  room,  she  could  hear  the  patter  of  rain  on 
the  roof. 

"I  saw  'The  Last  Leap'  today,  Jordan.  It's  a  money 
picture  and  well  directed."  It  was  Max  Storer  speaking. 
All  eyes  shifted  to  the  director.  Jordan's  face  expressed 
satisfaction.  It  was  one  thing  to  be  complimented  in  the 
big  chief's  office.  It  was  far  more  satisfying  to  be  lauded, 
thus,  before  one's  minions. 

"I  did  my  best,"  replied  the  director  with  Jordan  mod- 
esty. 

"Good  stuff,"  continued  Storer,  his  eyes  the  while  taking 
in  all  the  details  of  the  studio.  "Enough  art  without  mak- 
ing it  so  strong  that  the  average  theatre-goer  forgets  all 
about  the  picture." 

"That's  my  aim."  Jordan  fairly  bubbled  satisfaction. 
"I  give  'em  action  an'  realism,  Mr.  Storer.  Let  the  high- 
brows pass  out  the  super-photography.  My  eye  is  on  the 
box  office."    The  big  man  nodded  his  approval. 

Storer  covered  the  studio  with  remarkable  speed,  Jordan, 
Blystone  and  Miss  Thomas,  flanked  by  assistants,  trailing 
along  with  him.  A  little  group  of  extra  girls,  Peggy  among 
them,  caught  his  eye.    He  crossed  quickly  to  them. 

"Like  to  work  here?"  he  inquired. 

"They  don't  make  them  any  better,"  replied  Peggy  so 
promptly  that  she  surprised  herself. 

Storer  smiled.  The  great  man  was  pleased.  He  had 
always  fostered  a  sneaking  desire  to  become  known  for 
his  altruism  and  intended  to  put  this  into  effect  as  soon 
as  he  had  placed  the  Crimerian  Films  Incorporated  in  its 
predestined  place.  As  he  crossed  to  one  of  the  windows, 
Peggy  whispered  to  a  girl  at  her  elbow. 

"Darned  if  the  old  boy  isn't  actually  human." 

Storer,  his  mind  on  a  dozen  little  things  that  he  had 
observed  and  was  determined  to  take  up  with  his  gen- 
eral manager  later,  stood  looking  out  at  the  storm.  'Jor- 
dan pointed  to  the  torrents  of  water  that  fell. 

"Some  storm,"  he  said.  Then,  without  the  slightest 
realization  of  how  the  remark  sounded,  "Almost  as  good 
as  my  storm  scene  in  'The  Last  Leap'." 

"Almost,"  agreed  Storer.  Jordan  missed  the  twinkle  in 
the  chief's  eyes  when  he  said  this.  He  was  actually,  at 
the  moment,  rather  sorry  that  the  elements  could  not  pro- 
duce the  realism  that  his  skill,  as  a  director,  did  bring 
forth. 

Fifteen  minutes  later  Storer  had  seen  enough.  He  jerked 
a  thumb  towards  the  set. 

"When  do  you  finish  this  picture?" 

"Tomorrow.  •  This  is  the  last  set." 

"When  do  you  start  on  'The  Shoals  of  Illusion'?" 

"I  figured  to  leave  for  Cape  Cod  the  first  of  the  week" 
Peggy's  heart  jumped  as  she  heard  this. 


"Good."  A  short  pause  and  then,  "That  picture  should 
be  a  hummer;  we'll  spend  a  lot  of  money  in  exploiting  it, 
Jordan.    Hold  the  expense  down  as  low  as  you  can." 

And  the  big  boss  was  gone.  Jordan  stood  for  a  moment 
looking  towards  the  door  that  had  just  closed  behind  Max 
Storer ;  Max  Storer,  the  man  who  held  him  in  the  palm 
of  his  hand.    Then  he  turned  abruptly  about. 

"That's  that,"  he  said  curtly.  "And  if  we're  going  to 
wind  up  tomorrow  without  night  work  we've  got  to  move." 

Sunday  night  was  the  "big  event"  in  the  girls'  rooms  in 
East  Fiftieth  Street.  Even  Aggie,  who  really  should  have 
been  outside  taking  advantage  of  the  fresh  air,  agreed  to 
be  there.  After  all,  it  was  something  of  an  occasion.  Peggy 
and  Lois  had  worked  like  beavers  all  day.  There  had 
been  mysterious  trips  to  the  delicatessen,  the  joyous  whoops 
over  certain  bundles  that  Peggy  refused  to  explain,  and, 
greatest  of  all  miracles,  the  donation  of  a  chocolate  cake 
by  Miss  Cousins.  The  rent  had  been  paid  the  morning 
before. 

Every  one  who  counted  in  their  little  circle  was  there, 
including  five  nondescript  kittens  that  Mrs.  Dubois  watched 
over  in  a  soap  box.  The  arrival  of  the  Dubois  litter  early 
Sunday  morning  ...  a  most  "indiscriminate  hour"  accord- 
ing to  Peggy  .  .  .  had  momentarily  threatened  to  turn  the 
event  into  a  wholesale  christening  but  Aggie  had  nipped 
it  in  the  bud  by  announcing  that,  if  this  mad  plan  were 
carried  through,  Peggy  and  Lois  could  dig  up  some  one 
to  take  her  place.  So  the  purring  Mrs.  Dubois  and  her 
family  became  the  side  show  rather  than  the  main  tent 

The  ironing  board,  deftly  covered  with  a  bed  sheet — 
recently  cleaned — served  as  the  groaning  board  on  which 
Peggy  and  Lois  deposited  chicken  from  a  nearby  rotisserie; 
long,  iced  shoots  of  celery  packed  with  rochefort  cheese; 
the  inevitable  cans  of  sardines — the  openers  had  broken 
on  every  box  so  that  the  ends  looked  a  bit  ragged — and 
everything  that  a  fair  sum  of  money  and  two  active  and 
hungry  girls  could  buy.  In  the  center  of  the  table  stood 
a  bottle  of  Chianti.  This  Sid  had  mysteriously,  and  not 
without  pride,  produced  at  the  last  moment. 

It  was  late  before  the  orgy  was  over.  Peggy,  in  order 
to  shape  up  for  the  following  morning,  had  suggested  a 
Fifth  Avenue  bus  as  far  as  the  Drive  and  a  few  moments 
in  the  river  park.  A  chorus  of  protests  and  pillows  failed 
to  dissuade  her,  so  Sid,  the  patient,  went  with  her,  leaving 
the  others  to  do  their  best  with  the  difficult  task  of  trans- 
forming the  room  back  from  a  scene  of  gastronomic  wreck- 
age to  the  semblance  of  a  sleeping  compartment. 

Sid  and  Peggy  left  the  bus  at  Ninety- Eighth  Street  and 
strolled  across  the  grass  to  an  empty  bench.  The  river, 
placid,  lay  just  below  them.  A  late  river  boat,  its  lights 
like  strings  of  illuminated  beads,  made  its  way  between 
Uncle  Sam's  grey  fighting  monsters  anchored  midstream. 
Peggy  immediately  thought  of  0.  Henry's  expressive  lines, 
"a  stream  of  port-holes  passing  in  the  night." 

Sid  turned  to  Peggy.  His  big  hand  rested  on  one  of 
Peggy's,  and  she  didn't  seem  conscious  of  the  fact.  She 
was  miles  away  on  location  with  "The  Shoals  of  Illusion" 
.  .  .  and  fame.  Sid's  voice  brought  her  back  to  the  pres- 
ent. 

"I  suppose  you've  got  me  classed  as  a  first-class  dub, 
Peg."  She  looked  quickly  towards  him.  He  was  more 
earnest  than  usual.    "I  don't  range  up  with  Ned  Blystone." 

"Sid!"  Peggy  made  no  attempt  to  disguise  her  petulance. 
"Are  you  preparing  to  bawl  me  out  or  merely  working  up 
to  a  proposal?" 

Sid  gave  vent  to  a  deep  sigh. 

"I  know  better  than  to  try  the  latter."    Peggy  was 


Illustrated  by  A.  J.  TREMBATH 

■This  was  no  screen-acting,  but  a  real  battle  with  waves  and  wind.  Peggy  bent  to  the  oars 
in  a  last  attempt  to  reach  the  bit  of  rock  to  which  Ned  Blystone  clung  desperately. 


genuinely  relieved.  In  the  beginning  of  their  friendship 
every  Saturday  evening  had  been  marked  by  a  proposal  and 
a  rejection.   "It's  something  else." 

"Sid !  You  haven't  gone  and  fallen  in  love  or  something 
equally  damnable?  You're  not  going  to  desert  the  Three 
Musketeers?" 

"Not  a  chance,  Peg."  A  short  pause.  Then,  in  a  labored 
fashion,  "I  heard  something  last  night.  It  may  only  be 
gossip  but — but  I  know  the  man;  and  I  figured  I  ought  to 
tip  you  off." 


Peg  waited  as  patiently  as  a  woman  who  wants  to  know 
ever  waits.  She  knew,  from  experience,  that  it  didn't  pay 
to  crowd  Sid.    After  a  moment  or  so,  he  continued: 

"Spencer  Morgan — he's  a  sort  of  bank  promotor — has  an 
interest  in  pictures,  I  think.  He's  from  the  other  side  and 
— that's  how  I  know  " 

"You're  tipping  little  Peggy  off  to  the  fact  that  he  likes 
'em  young  and  figures  that  the  chortling  bankroll  justifies 
anything  that  he  happens  to  get  into  his  head.   Yes2  No?" 

Sid  nodded  .soberly. 


74 


SCREENLAND 


"You've  guessed  it." 
Peggy  chuckled. 

"Don't  worry  about  this  particular  Miss  Dixon,  old 
thing.  She  wasn't  born  yesterday  and,  when  she  was. 
she  grabbed  off  a  fifth  sense  that  warns  her  when  a  dog 
gets  ready  to  bite.  I'll  come  back  just  as  I  leave,  which 
is  nothing  to  cable  the  Hall  of  Fame  about."  Then  seri- 
ously, looking  up  into  Sid's  sombre  eyes,  "But  you  are  a 
dear  to  think  of  warning  me  and  I'll  keep  both  eyes  wide 
open." 

"Come  back  just  as  you  are,  that's  all  I  want,  Peg,"  said 
Sid  earnestly. 

"It's  a  bet,"  promptly.  Then,  with  a  little  laugh,  "Un- 
less I  get  the  chance  to  become  Mrs.  Ned  Blystone," 
laughingly.  Sid's  fingers  closed  quickly  about  Peggy's  hand. 
She  looked  down,  then  up  at  his  face,  turned,  now,  towards 
the  river.  She  began  to  understand  what  had  been  on 
his  mind.  "You're  hurting  me,  Sidney,"  she  said  quietly. 
"And  I  refuse  to  entertain  that  policeman  looking  at  us." 

The  trip  to  the  Cape  Cod  coast  was  like  a  fairy  dream 
come  true  for  Peggy.  Miss  Thomas  had  motored 
ahead.  For  some  mysterious  reason,  she  had  seen  fit 
to  sidetrack  Jordan's  suggestion  that  he  and  Blystone  make 
a  three-some  with  her  and  stop  over  at  Eastern  Point 
for  a  swim,  and  some  golf.  Therefore,  Ned  was  among 
the  members  of  the  company  who  went  by  train  and 
Peggy  had  a  chance  to  present  him  to  Lois  and  Sid  who 
had  gone  to  the  Grand  Central  to  see  her  off  in  style. 
By  dint  of  every  artifice  she  could  employ  Peggy  was  in 
the  same  car  with  the  star.  The  one  thing  needed  to 
make  her  day  unbelievably  perfect  was  .  .  .  well,  whatever 
it  was,  it  happened,  just  as  things  happen  mostly  in  fairy 
stories. 

They  were  rushing  along  the  Shore  Line,  just  east  of 
New  Haven,  when  Berry,  the  continuity  clerk,  came  up  to 
Peggy's  chair  and  somewhat  grudgingly  informed  her  that 
Director  Jordan  wanted  to  see  her  in  his  compartment. 

Peggy  smiled  up  at  the  self-important  youngster  by  her 
side. 

"You  tell  me  when  I  laugh,"  she  said.    "I  never  was 
quick  with  the  high  comedy  stuff.    I  run  to  Sennett's." 
The  messenger  from  Mars  frowned. 

"Jordan  wants  you  in  his  compartment,  'at  the  end  of 
the  car."  He  jerked  a  thumb  in  the  proper  direction.  "They 
are  going  over  the  script.  I'm  not  going  to  drag  you  there," 
he  added  with  acrid  courtesy,  "but  ." 

Peggy  entirely  missed  the  finish  of  the  sentence.  During 
her  wabbly  dash  d  own  the  swaying  parlor  car  she  nar- 
rowly avoided  wrecking  a  waiter  with  a  tiay,  and  let  a 
quick  smile  of  apology  suffice  for  a  keen-eyed  somewhat 
foreign  looking  man  over  whose  outstretched  legs  she  failed 
to  step.  He  looked  at  her  curiously,  observed  that  she 
entered  Jordan's  compartment  and  then  turned  back  to  his 
Wall  Street  Journal  with  a  satisfied  smile. 

Jordan,  clearly  upset  by  the  unusual  procedure  that  his 
male  star  had  insisted  on,  looked  up  from  the  script  on  his 
lap  as  Peggy  entered. 

"Sit  down,"  he  barked.  "Blystone  has  an  idea  that  the 
author  ought  to  have  consulted  you  before  he  wrote  this 
fool  picture."  As  Peggy,  amazed  and  a  bit  confused  even 
for  Peggy,  sank  down  on  a  seat,  he  added:  "The  more 
I  see  of  this  damned  continuity  the  more  convinced  I  am 
that  you  couldn't  hurt  it  any.  As  usual  I've  got  to  do  over 
most  of  it  myself." 

With  a  concluding  growl  he  turned  back  to  the  script 
and  remained  buried  in  it  for  the  rest  of  the  interview. 

"Mr.  Jordan  exaggerates,  Miss  Dixon"— Peggy's  heart 
smothered  one  of   those   silly  jazz  movements — "You're 


going  to  double  for  Miss  Thomas  in  some  of  the  scenes, 
I  believe." 

'Unless  some  one  kills  me  before  they're  snot,"  admitted 
Peggy,  and  Ned  Blystone  mentally  noted  the  fact  that  her 
eyes  were  as  attractive  as  they  were  unusual  and  that 
the  lines  of  her  throat  were  excellent. 

"I  thought  I  might  go  over  some  of  the  stuff  that  we 
are  going  to  do,"  continued  Blystone.  "If  Mr.  Jordan  will 
permit  I'll  give  you  a  quick  outline  of  the  story.  It  will 
help,  I  think.    Mind  if  I  smoke?" 

"I  love  it."  Blystone  cast  another  approving  glance 
towards  the  girl  by  his  side.  She  wasn't  a  mere  ordinary 
human  being,  that  was  evident. 

And  so  Peggy,  for  the  first  time  in  her  experience  with 
the  movies,  got  a  brief  resume  of  the  story  she  was  to 
appear  in.  It  dealt  with  Grace  Ferguson,  daughter  of  an 
old  lighthouse  keeper.  She  had  fallen  in  love  with  Harold 
Livingstone,  a  young  millionaire,  whose  society  exploits 
and  doings  in  Wall  Street  she  had  followed  assiduously.  It 
must  not  be  understood  that  the  two  had  met.  Quite  to 
the  contrary,  Grace's  passion  had  been  inspired,  nurtured 
and  fanned  to  a  flame  mostly  by  the  Sunday  supplements 
that  visitors  left  when  they  visited  the  lighthouse.  Visitors 
in  stories  have  a  way  of  doing  such  things  so  that  com- 
plications and  motivations  and  complex  and  a  lot  of  other 
vital  things  can  leap  into  existence. 

Just  at  the  moment  when  Grace  in  her  day-dream  is 
about  to  marry  her  hero,  then  comes  the  startling  news. 
It  is  in  a  week-old  society  column.  Harold  is  to  marry  no 
less  than  Gwendolyn  Morganbilt,  heiress,  beauty,  polo  ex- 
pert, etc.  Peggy  afterwards  admitted  to  Lois  that  the  au- 
thor made  a  composition  out  of  Gwen  rather  than  a  sub- 
stantial human  being.  At  all  events  Grace  sat,  by  day,  on 
the  shore,  and,  by  night,  in  the  white  house  near  the  light, 
wishing  that  she  might  make  some  great  sacrifice  for  her 
supplement  hero  and  thus  win  his  regard. 
■  Days  of  longing  pass.  Then,  from  The  Herald,  but  a  day 
old,  comes  the  fearful  news  that  Harold,  on  his  yacht,  the 
"Fleetwing,"  is  sailing  from  New  York  with  Gwen  and  a 
lot  of  other  metropolites  who  furnish  good  copy.  That 
night  the  old  keeper  burnishes  his  lights  as  never  before. 
The  sea  is  a  raging  thing,  licking  its  chops,  so  to  speak, 
for  the  dainty  morsel  that  is  to  come  ere  long.  A  ship  in 
distress  is  sighted.  The  old  lighthouse  keeper  is  too  old 
to  do  anything.  The  members  of  the  Coast  Guard  are  not 
on  their  jobs.   It  is  up  to  Grace. 

"This  is  where  you  come  in,"  interrupted  Blystone.  "You 
push  off  a  small  boat,  make  for  the  rock  and  save  Harold. 
That's  the  part  of  the  story  I  want  to  talk  over  with  you, 
if  you  don't  mind." 

Blystone  failed  to  give  the  finish  of  the  film.  Perhaps 
it  was  some  finer  instinct  that  warned  him  not  to  dispel 
the  illusion  that  showed  so  clearly  in  the  eyes  of  the  girl 
by  his  side.  What  actually  happened  was  that  the  crew, 
Gwen  and  the  rest  of  the  guests,  saved  themselves,  as  Har- 
old would  have  done  if  left  to  his  own  resources.  The 
finish  came  when  Harold,  drenched  from  his  trip  in  the 
small  boat,  turned  to  the  half-exhausted  Grace  and  said, 
"Thank  you,  my  good  woman.  If  you,  or  your  representa- 
tive, will  call  at  my  New  York  office,  you  will  be  suitably 
rewarded.  And  if  you  don't  mind,  I'll  go  now  and  get  a 
drink.  I'm  hanged  near  frozen."  Whereat,  Grace,  hiding 
her  sorrow,  countered  with,  "It  is  nothing,  good  sir;  I  would 
do  as  much  for  a  dog."  And  so  her  young  romance  was 
brutally  busted  on  "The  Shoals  of  Illusion,"  and  she  mar- 
ried Joe  Sistare,  the  coast  guard  man,  eventually  becoming 
the  mother  of  twins,  which  certainly  seemed  like  shifting 
her  revenge  to  a  perfectly  innocent  person. 


•SCREEN  LAND 


75 


But  Teggy  didn't  mind  the  fact  that  the  finish  of  the 
story  was  hot  told.  She,  an  extra  girl  headed  for  her  first 
real  bit  in  a  picture,  was  seated  in  close  proximity  to  Ned 
Blystone,  her  hero,  and  he  was  painstakingly  telling  her 
this  and  that  which  would  prove  important  to  the  realism 
of  the  life-saving  scene.  So  far  as  she  was  concerned,  the 
picture  didn't  need  to  end.  It  was  a  burning  shame  that 
Max  Storer  had  cautioned  Jordan  against  retake  expense. 
That  particular  "rescue"  was  going  to  be  the  greatest  mo- 
ment in  Peggy's  young  life.  If  the  cameramen  dropped 
dead  with  amazement  at  her  histrionic  skill  with  the  oars 
and  the  entire  episode  had  to  be  done  all  over,  Peggy  Dixon 
was  going  to  be  the  last  one  in  the  world  to  enter  a  word 
of  complaint. 

Such  are  the  dreams  of  youth  and  how  bitter  is  the 
awakening!  The  next  morning  as  Peggy  was  starting  forth 
from  the  cottage 
where  "room  an' 
board  mighty  rea- 
son'ble"  had  been 
secured  for  the 
extras,  Ed,  the 
second  cameraman, 
sauntered  by. 

"Tough  luck, 
kid,"  he  said  as  she 
stopped  to  pass 
the  time  of  day. 
"I  always  knew 
that  Thomas  was  a 
thirty-second  de- 
gree quince." 

"What's  wrong 
now?"  asked  Peggy 
apprehensively. 

"She's  decided 
that  next  to  the 
Yale  Olympic  crew 

she's  the  niftiest 

little  oarsman  that 

ever  slipped  a  row- 
lock." Peggy's 

heart   stood  still. 

"She's  decided  to 

work    the  rescue 

scene  herself." 
"That  makes  it 

unanimous, ""Peggy 

managed   to  say. 

But  it  wasn't  what 

she  was  thinking  at 

the  moment. 


That  afternoon  Browning,  the  scenario  editor,  who  was 
taking  his  vacation  at  New  London  and  had  come  up 
to  the  Cape  in  his  forty-footer,  to  give  the  unit  the  once 
over,  found  Peggy  sprawled  disconsolately  under  a  tree 
"watching  the  company  start  the  picture.    Jordan,  through 
a  third  or  fourth  assistant,  had  instructed  her  to  stand  by 
until  he  was  able  to  use  her.     Browning,  with  uncanny 
rapidity,  had  picked  up  the  story  of  Gloria's  sudden  change 
in  front  and  strolled  over  to  the  disconsolate  extra  girl. 
"How  are  things  going?"  he  inquired  genially. 
"Nothing  today,"  replied  Peggy  grimly.   "The  Fates  have 
decided  that  I  am  not  to  out-Pickford  the  gentle  Mary. 
At  least  not  this  season." 

Browning  looked  towards  the  busy  little  company  on  the 
shore.    Jordan,  in  his  shirt  sleeves,  a  megaphone  'n  his  left 


hand,  was  bawling  orders.  Assistants  ran  here  and  there 
excitedly.  Things  weren't  going  the  way  the  director  ex- 
pected. Off  to  one  side,  protected  from  the  weather  by  a 
big  red  and  white  striped  umbrella  that  her  maid  had  stuck 
in  the  ground,  Miss  Gloria  Thomas  sulked.  Blystone  was 
still  trying  to  convince  her  that  she  was  foolish  to  chance 
messing  up  the  rescue  scene. 

"I'm  going  to  do  it,"  said  Gloria  sharply.  Then,  with  an 
angry  flirt  of  the  head,  "I've  never  let  any  snip  of  an  extra 
handle  my  stuff  yet  and  I  don't  intend  to  begin  it  on  this 
picture  .  .  .  even  though  you  do  seem  anxious  to  have  me, 
Ned  Blystone." 

"You  may  spoil  the  whole  sequence,"  said  Ned  warmly. 
"Then  I'll  spoil  it,  the  part's  mine  and  I'm  going  to  do 
it,"  retorted  the  leading  lady  curtly.    "If  I  fall  out  of  the 
boat  it  will  put  an  extra  thrill  into  an  absolutely  inane 

picture!" 

Browning  turned 
to  Peggy  as  Bly- 
stone walked  away 
from  the  bright- 
hue  d  umbrella. 
There  were  laugh- 
ter lines  at  the  cor- 
ner of  his  mouth. 

"There  once 
was  a  highly  born 
woman,"  he  began, 
half  as  if  talking  to 
himself.  "She  had 
many  servitors 
who  did  come  and 
go  and  execute  her 
slightest  bidding. 
The  time  came 
when  a  new  slave 
was    brought  in 

and  " 

"I  know  what 
you're  going  to 
say,"  interrupted 
Peggy  wearily. 
"And  I  know 
you're  right,  Mr. 
Browning."  Then, 
wistfully,  "b  u  t 
knowing  it  doesn't 
make  the  disap- 
pointment any  eas- 
ier to  bear.  I've 
dreamed  that 
double  I  was  to  do 
for  the  last  ten 
days.  Now  I'll  go 
home  alone  and  take  it  out  in  a  good  cry." 

The  lids  of  Browning's  eyes  dropped  until  there  were 
only  two  narrow  slits  of  eye-ball  visible. 

"Cape  Cod's  a  great  spot  for  a  vacation,  with  your  ex- 
penses paid,"   he  said  with  seeming   irrelevance.  "And 
Rome  wasn't  built  in  a  day,  my  dear." 
"Perhaps  not,"  agreed  Peggy,  mustering  up  the  ghost  of 


(\Barbara  La  Marr  has  a  soul-in-struggle  appeal  to  the  heart 
hut  she  is  ever  a  feast  to  the  eyes.   "Sandra"  is  her  next  picture. 


a  smile.  "But 
few  minutes." 


it  sure  was 


wrecked  elegantly  in  a  mighty 


There  was  a  hop  at  the  local  hotel  that  evening  and 
Peggy  went  over  to  look  on.  She  went  up  onto  the 
veranda,  past  the  rocking  chair  fleet,  who  nudged  one  an- 
other and  pointed  out  "another  of  those  picture  actresses," 
and  peered  into  the  window  of  the  ballroom.  She  saw 
B'ystone.    He  was  dancing  with  Gloria,  and  the  lady,  for 


76 


SCREENLAND 


the  benefit  of  her  audience,  was  acting  her  prettiest.  Peggy 
heard  a  man's  voice  behind  her. 

"You're  with  the  'Shoals  of  Illusion'  Company,  aren't 
you?" 

"I'm  not  sure.''  she  replied  without  turning  to  see  who 
the  speaker  was. 

The  man  laughed  good-naturedly. 

"I  thought  I  remembered  you.   My  name  is  Morgan." 

Peggy  whirled  about  her.  She  looked  up  into  the  face 
of  the  man  over  whose  feet  she  had  stumbled  in  the  parlor 
car. 

"You  look  lonely,"  continued  Morgan  affably.  "I  feel  the 
same  way  and  as  we  all  belong,  so  to  speak,  we  may  as  well 
be  friends." 

Peggy's  steady  gaze  took  Morgan  in  from  head  to  foot. 
At  close  range  she  studied  him.  It  wasn't  the  first  time 
she  had  seen  his  type.  Now  and  again  they  attach  them- 
selves to  the  show  business  for  selfish  reasons. 

"I  suggested  that  we  might  be  friends,"  said  Morgan 
with  a  smile. 

"So  you  did,"  replied  Peggy  coolly.  "But  you  forgot 
to  add  that  you  have  an  over-active  imagination." 

"I  won't  bite  you,"  said  Morgan  quickly  as  Peggy  started 
to  leave.  A  quick  step  had  placed  him  between  the  girl 
and  the  stairs  towards  which  she  had  started.  The  music 
had  stopped  and  the  dancers  were  streaming  towards  the 
veranda  for  a  breath  of  cool  air.  "I'm  not  a  bad  sort,  really. 
And  we  both  belong  to  the  Crimerian  Films.  It  may  be 
possible  to  help  you!" 

Peggy  hesitated.  She  remembered  Sid's  warning  but",  at 
the  same  time,  she  knew  what  this  man  could  do.  It  might 
be  just  as  well  if  she  held  his  friendship.  He  might  make 
some  things  impossible  for  her  if  he  wanted  to  and,  by  the 
same  token,  he  might  make  other  things  possible.  She 
smiled.    Morgan  brightened. 

"That's  better."  Morgan  came  closer.  "What  do  you 
say  to  a  little  drive  and  a  bite  to  eat  somewhere?  I  know 
a  great  place  not  far  from  here.   Found  it  this  afternoon." 

"I  didn't  know  that  you  were  Columbus,"  sparred  Peggy 
gaily.  "And  I'm  afraid  of  capes  by  moonlight.  If  you 
want  to  dance  little  Peggy  flings  a  mean  foot.  But  that's 
where  she  begins  and  ends." 

Blystone  had  the  second  dance  with  Gloria.  In  fact  that 
young  lady  intended  that  he  should  have  all  the  dances  that 
she  saw  fit  to  indulge  in  during  that  particular  evening.  She 
had  overheard  certain  comments  made  about  them  and  her 
selfish  little  soul  was  not  above  capitalizing  what  she  recog- 
nized as  good  publicity.  They  had  made  a  single  turn  of 
the  floor  when  BlystoneV  eyes  rested  on  Peggy  as  she  swept 
by  with  Morgan.  Blystone  knew  the  man  and  cordially 
disliked  him.  Without  stopping  to  analyze  the  sensation 
he  resented  the  fact  that  his  companion  of  the  afternoon 
before  was  dancing  with  him. 

"What's  wrong,  Ned?"  whispered  Gloria.  She  knew  per- 
fectly well  why  her  partner  had  missed  a  step,  stumbled 
back  into  the  rhythm  of  the  dance  and  remained  silent. 
"Am  I  in  such  bad  form  tonight?" 

"I  guess  it's  me,"  replied  Blystone.  He  was  rather  an- 
noyed that  an  extra  girl  dancing  with  Morgan  meant  so 
much  to  him.    "I'm  a  little  frayed  from  the  day's  work." 

A  few  moments  later  Gloria  and  Ned  swept  by  Peggy 
and  her  partner  on  the  floor.  Ned  did  a  perfectly  inane 
thing.  Even  the  best  of  us  can  do  such  things  under 
stress  and  hate  ourselves  for  it  a  few  moments  later.  He 
stared  past  Peggy,  in  answer  to  her  joyous  little  smile,  as 
if  utterly  unconscious  of  the  fact  that  she  moved  in  the 
same  world.  Gloria  managed  to  contain  her  satisfaction. 
The  incident  had  not  escaped  her  attention.  Peggy  drooped 
for  a  moment,  then  entered  into  the  spirit  of  the  dance 
with  a  new  abandon, 


"Do  I  get  the  next?"  inquired  Morgan.  This  girl  in  his 
arms  was  beginning  to  appeal,  savagely,  to  all  the  instincts 
in  the  man. 

Peggy  smiled  up  at  him.  If  he  had  been  a  man  given 
to  the  real  study  of  women  he  would  have  read  a  warning 
in  Peggy's  eyes. 

"I  never  take  them  two  in  a  row,"  she  replied.  "The 
one  after  this  is  yours  if  you  think  you  can  stand  the  strain." 
Then  she  was  off  like  a  flash,  out  of  the  room  and  into  the 
night. 

Blystone,  out  of  the  tail  of  his  eye,  saw  Jordan  strolling 
towards  them  as  he  and  Gloria  made  their  way  through 
the  chattering  throng  to  the  veranda.  He  muttered  some- 
thing about  cigarettes,  and  the  girl  at  his  side,  satisfied  with 
the  trend  of  events,  made  no  protest  when  he  stepped  aside 
for  the  director  to  whom  dances  were  "damned  nonsense 
except  in  a  big  set." 

Ned  strode  out  into  the  darkness.  For  no  good  reason 
at  all  he  had  done  a  small  thing.  He  did  not  attempt  to 
make  himself  believe  that  Gloria  Thomas  had  misinter- 
preted the  incident  in  the  ballroom.  Gloria  was  a  woman. 
Therefore,  she  understood  perfectly.  She  was  probably 
repeating  the  thing  to  Jordan  who  had  a  distorted  sense  of 
humor  and  would  see  that  Ned  was  reminded  of  it  at  the 
first  public  opportunity.  Not  that  that  was  the  important 
thing,  for  it  wasn't.  Blystone  asked  himself  over  and 
over  again,  as  he  stalked  through  the  night,  what  difference 
it  made  to  him  because  Peggy  Dixon  saw  fit  to  dance  with 
a  rotter  like  Morgan.  And,  because  he  was  a  man.  he 
refused  to  accept  the  answer  his  common  sense  offered. 

"You  are  in  your  second,  third  or  possibly  fourth  child- 
hood, if  there  is  such  a  thing,"  he  assured  himself  mentally. 
"You  need  a  nurse.  You  never  knew  that  girl  existed  until 
a  little  over  a  week  ago  and  she  probably  has  forgotten  the 
fact  that  you  are  on  earth,  if  it  ever  really  meant  anything 
to  her.  Darn  this  business  of  being  popular  because  you 
happen  to  screen  well.  Why  weren't  you  born  to  play 
heavies?" 

The  moonlight  painted  a  dancing  lane  of  silver  across  the 
water  and  rested  gently  on  a  little  point  of  land  near 
where  the  company  had  been  working  all  day.  Ned's  eyes 
made  out  a  figure,  huddled  in  misery,  right  in  the  ribbon  of 
light.  As  he  drew  nearer  he  saw  that  it  was  a  woman. 
Quickening  his  pace  he  came  alongside.  Peggy  looked  up 
at  him  and  then,  because  there  were  rebellious,  tell-tale  tears 
in  her  eyes,  she  dropped  her  head  again.  Blystone  felt 
awkward  for  no  good  reason  at  all. 

"Mind  if  I  sit  down  for  a  few  moments?  It's  restful  and 
quiet  here  and  that  dance  hall  is  an  oven." 

Peggy  offered  no  protest  as  Blystone  dropped  to  the  sand 
by  her  side.  Twenty-four  hours  earlier  this  would  have 
thrilled  Peggy.  But,  during  the  moments  spent  on  that 
point  before  the  arrival  of  Ned,  knowledge  had  been  born 
of  a  hurt ;  knowledge  that  could  not  be  wiped  out  as  marks 
are  removed  from  a  slate.  She  was  a  little  extra  girl  and 
Ned  Blystone  was  the  star  of  "The  Shoals  of  Illusion" 
Company.  The  gulf  between  them  was  as  wide  as  the 
dreams  she  had  conjured  up  the  night  before !  His  actions 
in  the  ballroom  had  proved  that.  Gloria  Thomas  had  won 
again,  if  indeed  there  had  ever  been  a  time  when  she  was 
in  danger  of  losing. 

"I'm  terribly  sorry  that  you're  not  going  to  double  in 
that  scene."  Ned  was  in  earnest,  but  Peggy  didn't  move. 
"It's  the  big  punch  of  the  picture,  and  Miss  Thomas  doesn't 
know  any  more  about  a  boat  than  a  six-months-old  child." 

Peggy  knew  her  conclusions  had  been  right.  It  was  the 
picture;  only  the  picture  so  far  as  she  went  with  Ned 
Blystone. 


SCREEN  LAND 


77 


"She'll  put  it  over,"  she  replied  listlessly.  "It  doesn't 
take  a  genius  to  handle  a  pair  of  oars." 

"You've  got  to  know  something  about  it,"  protested  Ned. 
"It  may  sound  egotistical  but  I'm  not  wild  about  chancing 
a  mix-up  out  there  on  that  water.  As  it  happens,  I  am  a 
poor  swimmer." 

Peggy  looked  quickly  up  at  the  man,  beside  her.  His 
eyes  were  fixed  on  the  water  as  if  mentally  going  over  the 
possibilities  of  a  slip  somewhere  in  the  proposed  rescue 
scene. 

"There's  no  real  danger,"  she  said,  after  a  moment's 
hesitation,  in  a  dull,  colorless  tone.  "Jordan  isn't  going  to 
expose  one  of  his  best  bets  to  anything  like  that !  You  don't 
need  to  worry." 

It  was  catty  but  Peggy  couldn't  help  it.  And  the  shot 
found  its  mark.  Peggy  knew  that  from  the  hurt  look  that 
Ned  gave  her.  She  wanted  to  tell  him  that  she  was  a 
mi~serable  little  fool  and  that  she  didn't  mean  a  word  she 
had  said.  But  she  merely  sat  there,  looking  ahead,  splen- 
didly unhappy. 

Ned  lighted  a  cigarette  and  puffed  thoughtfully  on  it  for 
a  few  moments.  The  quiet  of  the  evening  was  broken  only 
by  the  gentle  swish  of  the  waves  along  the  rocks.  Perhaps 
the  man  in  the  moon  chuckled  at  the  stupidity  of  the  two 
humans  sitting  below  him.  If  he  did,  they  failed  to  observe 
his  mirth. 

"I'm  going  to  see  Jordan  when  I  get  back  to  the  hotel," 
said  Ned  at  last.  "He  may  be  able  to  persuade  Gloria  to 
'  change  her  mind." 

"I  wouldn't,  if  I  were  you,"  injected  Peggy  quickly. 
"It  would  get  out,  and  there  are  a  lot  of  people  who  might 
think  that  you  were  afraid  to  go  through  with  the  scene." 
She  rose  quickly  to  her  feet.  "I'm  sorry,  but  you'll  have 
to  excuse  me.   I've  got  this  dance  with  Mr.  Morgan." 

After  which  second  catty  remark,  Peggy  turned  abruptly 
and  ran  away  from  Ned  Blystone  as  fast  as  her  legs  would 
carry  her. 

Morgan,  growing  angrier  with  each  moment  of  waiting, 
had  retired  to  the  seclusion  of  his  room.  He  decided  that 
Peggy  was  a  bad  bet  and  not  worth  wasting  his  time.  Mor- 
gan was  not  in  the  habit  of  being  turned  down  by  women, 
particularly  young  women  whose  destinies,  to  a  certain  ex- 
tent, rested  in  the  palm  of  his  hand. 

In  her  room,  her  face  buried  in  the  pillows,  Peggy  lay, 
dry-eyed,  her  soui  in  torment.  Her  ears  were  dead  to  the 
strains  of  the  orchestra  that  wafted  from  the  hotel.  At 
last  she  got  up,  washed  her  hot  face  with  cool  water,  and 
turned  off  the  light.  As  she  pulled  the  coverings  up  about 
her  shoulders  she  gave  herself  a  bit  of  good-night  informa- 
i  tion. 

/'Peggy  Dixon,  God  made  you  a  first-class  fool  but  you 
will  insist  on  improving  the  job.  You  belong  in  the  mob 
scenes  and  in  the  mob  scenes  is  where  you'll  stay,  if  you 
have  an  atom  of  sense  in  your  silly  brain.  Browning  was 
right  when  he  told  you  to  keep  your  eye  on  the  steering 
gear  or  wheel,  or  whatever  it  was.  You  will  get  your  ticket 
home  tomorrow.  You  will  take  it,  like  a  nice,  sensible  little 
girl,  and  go  back  to  the  burning  streets  of  the  hungry  city. 
Oh'damn!"  And  Peggy  prepared  for  the  sleep  that  failed 
to  come  until  hours  after  Blystone  had  said  good-night  to 
Gloria.  Peggy  hadn't  the  solace  of-  knowing  that  he  had 
repaired  to  his  own  room  to  curse  himself  because  he 
could  not  efface  from  his  mind  the  blue  eyes  of  a  little 
extra  girl,  sitting  on  a  point  in  the  moonlight. 

Director  Jordan,  despite  the  warning  of  the  weather 
prophets,  decided  the  next  morning  to  shoot  the  rescue 
scene  and  get  it  off  his  chest.  Peggy,  who  had  not,  as  she 
expected,  received  word  to  entrain  for  New  York,  watched 
from  under  a  tree  the  rehearsal  of  the  scene.    Jordan  had 


three  cameramen  at  work  and  was  unusually  nervous.  If 
the  truth  be  known,  Blystone  had  gone  to  him  in  his  room 
before  the  director  was  up,  and  begged  him  to  try  and  dis- 
suade Gloria  Thomas  from  going  on  with  the  scene  as  she 
had  announced. 

Jordan  had  dropped  over  to  the  stars'  table  at  breakfast. 
Gloria  was  in  one  of  her  moods.  Some  one  had  heard  of 
the  meeting  of  Blystone  and  Peggy,  which  neat  bit  of  gossip 
had  been  started  by  an  assistant  director.  Of  course,  the 
director  had  no  means  of  knowing  this. 

"You're  foolish  to  go  into  that  rescue  stunt,"  he  had  begun 
with  characteristic  directness. 

"Possibly,"  Miss  Gloria  had  replied  coldly.  "But  I'm 
going  if  it's  the  last  thing  I  do  in  this  world.  You're  putting 
salt  in  your  coffee,  Mr.  Jordan.  '  I  presume  you  intended 
it  for  your  melon." 

Jordan  carried  that  rebuff  with  him  during  the  entire 
morning.  He  took  it  out  on  every  one  who  came  in  touch 
with  him.  Over  and  over  "again,  while  the  trio  of  camera- 
men waited  and  smoked  indifferent  to  the  hub-bub  about 
them,  he  went  through  the  scene.  When  even  Blystone 
cracked  a  little  under  the  strain  and  ventured  to  comment 
on  the  repeated  rehearsals,  Jordan  snapped. 

"This  is  all  there  is  to  this  damned,  blasted,  blinkety  blank 
so-called  picture  and  I'm  not  taking  any  chances  with  it 
going  wrong!"  Then  he  turned  to  his  corps  of  assistants 
and,  for  the  next  half  hour,  "The  Shoals  of  Illusion"  Com- 
pany had  a  well-defined  illustration  of  what  a  director  can 
do  when  his  brain  is  on  a  rampage. 

Morgan  strolled  down  just  before  lunch  hour.  Never  at 
his  best  before  the  night  lights  went  on  he  was  feeling  a 
bit  worse  than  usual  this  morning.  He  had  not  slept  well. 
Spotting  Peggy,  off  by  herself,  he  made  his  way  to  her  and 
sat  down. 

"That  second  dance  of  ours  was  an  enjoyable  one,"  he 
said  grimly. 

"It  might  have  been  worse  if  I  had  turned  up,"  retorted 
the  girl  by  his  side.  "I'm  sorry  to  have  kept  you  waiting 
but — oh,  you. wouldn't  understand,  only  it  was  impossible 
for  me  to  get  there." 

"I  think  that  I  understand  perfectly."  There  was  an 
angry  purr  in  the  man's  voice.  He,  too,  had  heard  of  the 
meeting  between  Ned  and  Peggy  the  night  before  and 
placed  his  own  interpretation  on  it..  "You  run  more  to 
troupers  than  to  the  man  behind  the  guns."  Peggy  didn't 
answer.  "Just  as  you  see  fit,  my  dear;  but  you're  not 
showing  good  sense." 

"I  didn't  know  any  one  credited  me  with  much  of  that," 
ventured  Peggy  wearily.  "And,  if  any  one  has  done  so, 
he's  off  his  stride." 

"You  can't  make  me  believe  that.''  Despite  the  repul- 
sion of  the  evening  before  Morgan  was  feeling  the  return 
of  desire.  "I  am  in  a  position  to  get  everything  for  you 
...  if  you.'ll  be  good  to  me." 

-ip^EGGY  turned  and  looked  the  man  beside  her  squarely 
JPin  the  eyes.  There  was  an  angry  glitter  in  her  own. 
When  she  spoke  her  voice  was  low.  well  under  control,  but 
every  word  carried  with  it  the  cut  of  a  whiplash. 

"You're  right,  but  you're  all  wrong!  You've  got  money, 
the  thing  that  every  soul  here  is  gambling  Klieg  burns  to 
bring  home  with  them.  You  ooze  into  the  picture  with  a 
full  wallet  and  expect  the  world  to  fall  at  your  feet  and 
play  dead  dog.  You  talk  about  leads  and  exclusive  apart- 
ments and  comfortable  limousines  and  figure  that  you're 
paying  rather  well  for  what  you're  after.  And  perhaps  you 
are,  sometimes.  But  this  time  you're  playing  in  the  wrong 
backyard.  When  I  want  a  man.  I  know  where  there  are 
real  ones.  When  I  want  to  smell  gasoline  I  can  climb  onto 
a  Fifth  Avenue  bus  and  deposit  my  own  dime  in  the  con- 


7S 


SCREEN  LAND 


ductor's  jingler.  You're  a  beast,  a  filthy,  unbearable  beast; 
and  if  I've  got  to  climb  to  success  with  the  help  of  a  man 
like  you.  I'm  going  to  be  an  extra  when  my  hair  is  so 
white  that  they'll  cast  me  for  a  snowdrift." 

What  Morgan  said  to  Jordan  during  the  lunch  hour  is 
not  a  matter  of  record.  But  he  made  the  mistake  of  men- 
tioning Peggy's  name  in  a  profane  fashion  and  Ned,  to  the 
absolute  disgust  of  Gloria,  saw  fit  to  object.  When  the 
money  man  left  the  unit  and  strode  angrily  back  to  the 
hotel  the  entire  outfit  was  in  a  fit  of  nerves  that  promised 
good  for  no  one  and  ill  for  the  unfortunate  who  happened 
in  the  way  of  a  spark.  And  through  it  all  the  cause  of 
the  whole  upfiare  sat  under  her  tree  and  nibbled  at  a  box 
luncheon  that  a  property  man  had  brought  to  her. 

"Got  to  eat,  kid,"  he  said  with  a  kindly  grin.  "The  old 
stomach  keeps  on  operatin'  no  matter  how  the  heart  kicks 
up." 

'Atta  boy,  Joe,"  replied  Peggy  with  a  weary  ghost  of  a 
smile. 

By  three  o'clock  Jordan  expressed  himself  as  satisfied 
with  the  way  that  the  scene  was  running.  The  members  of 
the  company  who  were  to  work  in  it  and  the  assistants 
and  property  men  were  ready  to  leap  at  one  another's 
throats.  Perhaps  the  director  realized  this  and  decided  that 
he  must  start  the  shooting  unless  he  wanted  to  lose  an 
entire  day's  work.  What  he  did  not  realize  was  the  specks 
on  the  horizon  thai  had  fanned  out  into  low-hung  clouds, 
threateningly  black,  and  that  the  sea  was  slowly  being 
whipped  into  action  by  the  advance  agents  of  the  coming 
storm.  Peggy,  who  knew  something  about  the  rapidity  with 
which  August  storms  arrived  and  struck,  did  notice  it  and 
moved,  without  really  knowing  why,  closer  to  the  shore. 

The  rescue  scene  required  that  Ned  go  out  to  a  high- 
pointed  rock  that  had  been  previously  selected  for  location. 
Cameras,  in  advantageous  positions,  ground  away  as,  un- 
derlie lash  of  Jordan's  megaphone,  Blystone  clung  to  the 
safety  point  to  which  he  had  presumably  been  swept  after 
the  wreck  of  his  yacht.  It  went  off  without  a  hitch,  the 
balance  of  the  company  watching  anxiously  from  the  shore. 

"Cut,"  bawled  Jordan.  The  cameras  ceased  grinding, 
and  the  men  in  the  rowboats  started  back  for  the  shore  to 
get  in  place  for  the  rest  of  the  scene.  In  spite  of  every- 
thing the  director  was  pleased.  The  waves  were  growing 
bigger,  and  he  could  see  the  effect  that  he  was  after.  On 
a  screen,  with  skillful  cameramen  to  help  him  trick  it,  the 
picture  would  produce  the  thrill  that  he  knew  was  all  essen- 
tial. But  Jordan  was  not  a  sailorman,  or  he  would  have 
paid  heed  to  the  danger  signals. 

He  called  through  his  megaphone  at  Blystone.  The 
wind  had  risen  by  now  so  that  he  had  to  howl  to  make 
himself  heard. 

"Rest  up  until  I  give  the  word.  When  I  wave  my  mega- 
phone you  begin  to  signal  for  help.  Your  strength  is  al- 
most gone.  You  can't  hold  on  much  longer."  You  know 
the  stuff.  We'll  make  a  few  close-ups  nearer  the  shore 
later.  But  for  the  love  of  God  give  it  everything  you've 
got." 

There  were  some  delays  on  the  shore  while  the  cameramen 
again  adjusted  their  machines  and  found  the  exact  angles 
that  Jordan  was  after.  Peggy  shifted  uneasily.  No  one. 
not  even  Blystone,  squatted  on  the  little  ragged  tooth  of 
rock,  far  out  from  shore,  placidly  smoking  a  cigarette, 
seemed  to  sense  genuine  danger.  She  did.  The  wind  was 
rapidly  increasing  in  strength,  and  the  waves  were  growing 
bigger  with  every  moment  that  passed.  The  skies  were 
darkening.  In  the  distance  a  small  fishing  vessel  tossed 
like  a  splinter  of  wood  while  its  crew  hurriedly  reefed  her 
sails. 

Jordan  strode  to  where  Gloria,  her  maid  hovering  about 


her.  was  waiting,  a  screaming  scarlet  cloak  hiding  the  gar- 
ments of  Grace,  the  lighthouse  keeper's  daughter. 

"We're  ready,  Miss  Thomas,"  he  said  tersely. 

The  red  and  white  striped  umbrella  swayed  in  the  wind. 
There  was  a  boom  from  the  shore  as  a  huge  wave  pounded 
against  the  rocks  and  swept  back  again  with  an  angry  laugh. 
Peggy  had  seen  that  wave  long  before  it  reached  the  narrow 
strip  of  ledge  on  which  Blystone  was  seated.  Her  heart 
had  stood  still  as  she  watched.  But  Ned  had  seen  it  also 
and,  with  an  uneasy  backward  glance  at  the  waters  growing 
momentarily  heavier,  had  braced  himself  to  the  shock.  When 
it  passed  he  settled  himself  more  securely,  shivering  from 
the  cold  which  his  wet.  clinging  garments  accentuated  now 
that  the  sun  was  gone. 

Gloria  Thomas  failed  to  move. 

"I'm  sorry,  Miss  Thomas,"  said  Jordan  sharply,  "but 
we've  got  to  have  action." 

There  was  a  stifled  scream  from  one  of- the  girls  on  the 
beach.  She  had  seen  a  wave  all  but  sweep  Ned  from  his 
resting  place.  He  was  signalling  for  help  long  before  Jor- 
dan's signal.  The  first  cameraman,  the  picture  instinct 
awakened,  was  grinding  away,  foot  after  foot,  shooting 
through  his  reel. 

"If  you  think  I'm  going  out  there  in  that  egg-shell  of  a 
boat  you're  crazy."  snapped  Gloria.  She  was  white  under 
her  make-up. 

"You  wanted  to  do  the  scene,"  snarled  Jordan.  "And, 
by  God,  you're  going  to." 
'Y'ou  have  my  resignation." 

Jordan,  frantic,  white  with  anger,  stormed,  pleaded,  threat- 
ened but  Miss  Gloria  Thomas  ignored  him,  spoke  a  few 
quick  words  to  her  maid  and  started  away. 

jpEGGY  had  failed  to  catch  the  incident.  Her  eyes  were 
&  glued  on  the  bit  of  ledge,  hardly  more  than  the  tooth  of 
a  saw  now.  and  the. man  desperately  clinging  to  it.  Behind 
him  the  black,  threatening  clouds  hung  low,  the  waves  were 
coming  on  in  a  seemingly  endless  procession  of  great  combers, 
higher  and  higher.  Then  Blystone's  words  of  the  night  before 
flashed  across  her  mind. 

"As  it  happens,  I'm  a  poor  swimmer." 

She  leaped  to  her  feet,  threw  aside  her  hat  and  started 
for  the  shore  and  the  little  boat  that  two  actors  were  hold- 
ing. They  were  dressed  as  summer  visitors  and  were  be- 
ginning to  wonder  what  was  keeping  Gloria  Thomas.  Jor- 
dan caught  sight  of  Peggy  as  she  flashed  towards  the  beach. 

"Grind,"  he  yelled  at  the  cameramen  and  the  two  who 
had  not  turned  a  crank  as  yet  jumped  into  action. 

There  was  no  use  to  give  the  signal  for  action  to  Ned. 
He  had  been  calling  for  help  for  what  seemed  an  eternity 
to  him.  He  wasn't  acting.  He  was  asking  for  help  that 
he  needed  sorely.  Standing,  open-mouthed.  Jordan 
watched.  His  heart  was  beating  rapidly,  he  felt  just  a  bit 
sick,  but  the  instincts  of  the  director  told  him  that  here 
was  the  real  thing. 

Peggy  reached  the  boat,  flung  herself  into  it,  seized  the 
oars  and  snapped  a  command  back  at  the  astounded  men. 
They  obeyed  mechanically  and  the  nose  of  the  little  vessel 
was  shoved  out  onto  the  water.  Raindrops,  the  first  warn- 
ing of  the  torrent  that  was  to  follow,  stung  Peggy's  face 
but  she  didn't  realize  it.  This  wasn't  acting.  Ned  Blystone 
was  out  there  clinging  to  a  bit  of  reef  that,  inside  of  a  few 
minutes,  would  be  smothered  by  the  waves  and  he  was  a 
poor  swimmer. 

She  bent  her  back  to  the  oars.  She  had  swung  the  light 
little  boat  on  into  the  waves.  The  spray  flung  itself  in 
thick  sheets  all  over  her.  Her  arms  were  beginning  to  ache 
and  she  hadn't  covered  half  the  distance  to  the  bit  of  rock 
that  she  could  no  longer  see  because  her  back  was  to  it 
She  didn't  dare  turn  and  look  for  fear  of  lost  motion-  a 


SCREENLAND 


79 


moment's  let-up  on  the  oars  meant  that  the  waves  would 
sweep  her  back  again;  that  she  would  have  to  duplicate  the 
effort  already  given. 

"You  told  'em  you  could  row,"  she  lashed  herself  men- 
tally.   "Now  let  'em  see  what  you've  got." 

The  company  was  huddled  in  a  little  knot  on  the  edge  of 
the  beach  out  of  reach  of  the  waves  that  rushed  in,  growling 
ominously.  Jordan,  up  to  his  knees  in  water,  yelled  to  one 
of  the  cameramen. 

•Get  that  bunch  on  the  shore!"  The  camera  swung  in 
action.  Then,  as  he  looked  out  again  towards  the  reef, 
"God  almighty,  how  that  kid  can  fight!" 

Clinging  desperately  to  the  rock,  his  strength  going  more 
rapidly  than  he  cared  to  admit,  Blystone  saw  the  boat  com- 
ing slowly  towards  him.  He  recognized  the  little  figure  at 
the  oars.  Then  the  actor,  even  in  that  moment  of  danger, 
came  to  the  top. 

"Look  at  him  work,"  screamed  Jordan,  as  he  waved  his 
megaphone  madly.  He  was  no  longer  the  director.  All  his 
poise  was  gone.  His  was  the  admiration  of  a  man  who 
had  once  done  stunts  that  had  thrilled  hundreds  of  "thou- 
sands.   '-What  a  picture  ...  if  she  only  can  make  it." 

One  of  the  women  members  of  the  company,  whose 
nerves  had  snapped  under  the  strain,  was  sobbing  hysteri- 
cally. No  one  tried  to  comfort  her;  There  was  a  big  drama 
out  there  on  the  water.  And  the  cameras  followed  the  boat, 
held  Ned  Blystone,  covered  the  group  on  the  beach,  grind- 
ing evenly,  surely,  perfectly. 

Morgan,  a  cigar  clenched  between  his  teeth,  met  Gloria 
as  she  climbed  the  steps  of  the  stairway  leading  to  the 
higher  ground. 

''Finished  so  soon?"  he  inquired. 

"I'm  finished,  if  that's  what  you  mean,"  replied  Gloria 
crisply.  "This  isn't  any  fake  storm."  She  pressed  down 
the  cloak  that  the  wind  threatened  to  strip  from  her  shoul- 
ders. "If  you  or  Jay  Jordan  or  any  one  else  thinks  I'm 
going  out  there  and  throw  my  life  away,  you're  crazy." 

Morgan's  hand  was  on  her  shoulder. 

"Didn't  you  wait  for  the  scene?" 

"I'm  not  a  fool."  Gloria  brushed  his  hand  from  her 
shoulder  and  started  for  the  door. 

"Where  are  you  going,  Miss  Thomas?"  Morgan's  voice 
snapped  angrily. 

"Back  to  New  York.    To  tell  Storer  a  few  things." 

"You  don't  need  to  bother."  Gloria  halted.  Something 
in  his  tone  made  her  stop.    "I  see  your  finish  now." 

Morgan's  teeth  went  tighter  about  the  big  cigar  and  he 
raced  down  the  stairway  to  the  drama  that  was  being  en- 
acted at  the  water's  edge. 

Peggy's  face  was  wet  with  spray,  rain  and  tears  that 
would  come  despite  herself.  It  seemed  an  eternity  since 
she  sprang  into  the  boat  and  started  for  Ned.  Every  muscle 
in  her  body  ached.  The  distant  shore  was  a  filmy  haze. 
Perhaps  she  was  going  in  the  wrong  direction.  A  sickening 
fear  gripped  her.    Perhaps.    She  flung  a  quick,  frightened 


glance  over  her  shoulder.    She  caught  the  white  face  of 
Blystone  a  few  feet  distant. 

"Let  go  and  grab  the  boat,"  she  gasped. 

Ned  never  knew  how  it  was  accomplished.  One 
moment  the  little  boat  was  bobbing  towards  him.  A  giant 
wave  swept  completely  over  the  ledge;  he  let  go.  The  next 
he  knew  he  was  hanging  on  to  the  side  of  the  boat  panting 
from  exertion.  Behind  him  were  the  mountain-high  waves 
that  tossed  them  up  and  let  them  down  again  as  if  they 
were  on  a  straw.  Ahead  of  him,  growing  clearer  and 
clearer,  as  the  waves  swept  them  onward,  was  the  shore 
with  people  dancing  and  screaming  with  joy,  and  Jordan, 
insane  with  relief  and  delight,  waving  his  hands  and  caper- 
ing about  like  a  madman.  Finally,  his  strength  partly  re- 
gained, Ned  climbed  over  the  side  of  the  boat  and  fell 
heavily.  And  all  the  time  the  cameras  ground,  ground, 
ground,  foot  after  foot. 

Peggy  heard  the  crunch  of  wood  against  gravel  as  the 
nose  of  the  boat  dropped  from  the  crest  of  a  wave  and 
ground  into  the  beach.  Whereupon  she  did  a  very  feminine 
thing.    She  fainted. 

There  were  wild  buzzing  sounds.  Little  red  pin-wheels 
revolved  with  astonishing  speed  and  then  stopped,  gath- 
ered renewed  vigor  and  started  off  in  the  oppesite  direction. 
Some  one  was  pounding  on  Peggy's  skull  with  hammers. 
She  opened'  her  eyes  and  looked  up  into  Ned  Blystone's 
worried  face. 

"Take  it  easy,  dear,  you're  all  right."  It  was  his  voice. 
He  had  called  her  dear.  It  was  the  end  of  the  world. 
Peggy  knew  that.  But  what  did  it  matter?  Her  head  was 
in  his  lap,  and  he  had  called  her  dear.  She  closed  her  eyes 
with  a  little  sigh  of  satisfaction. 

"Is  she  coming  out  of  it?"  Peggy  knew  that  the  voice, 
with  a  strange  -anxious  note  in  it,  belonged  to  Morgan  but 
she  didn't  trouble  to  look  up.  She  was  too  comfortable 
right  where  she  was.  Ned  nodded,  and  Morgan  went  on, 
"That's  the  pluckiest  exhibition  I've  ever  seen  and  if  I've 
any  influence  she  gets  the  picture — the  lead — if  she  wants  it." 

This  time  Peggy  didn't  dare  to  open  her  eyes.  She  was 
hearing  things.  It  couldn't  be  true.  Jordan's  voice  came 
out  of  the  jumble  of  comment. 

"She's  a  damned  good  little  trouper,  I'll  say.". 

Then  Ned  Blystone's  voice,  low,  even,  genuine. 

"She's  the  sweetest  thing  who  ever  lived." 

This  time  Peggy  opened  her  eyes  and  when  she  smiled 
Blystone  saw  something  that  he  had  never  before  seen  in 
a  woman's  eyes,  though  he  had  played  enough  love  scenes  to 
have  observed  almost  everything. 

"Feeling  better,  Miss  Dixon?"  he  inquired  anxiously. 
"Anything  I  can  do,  Peggy?" 

And  Peggy  closed  her  eyes  again  because  there  were  tears, 
big,  stupid  tears  of  happiness  filling  them  and  she  didn't 
want  every  one  to  understand  how  weak  she  was. 

"Nothing  today,  Ned." 

(THE  END) 


Help  Yourself  to  a  Movie  Million 

MANY  letters  come  to  the  Editor  of  SCREENLAND  offering  to  help  the  movies  with  services  of  some  kind  or  other. 
Instead  of  laughing  at  these  offers  the  Editor  feels  the  greatest  respect  for  the  writers.     They  are  the  Future.  Some  one  of  them  will 
come  through  and  some  day    be  the  very  personage  he  wishes  to  be. 
Hn-rever  writing  to  SCREENLAND  a  letter  about  his  scenario  will   not   even   be  a  tiny  step    toward   his   goal.      Perhaps   you  budd,ng 
enario  writers  do  "no t  know  the  right  thing  to  do.     In  that  case,  here  is  an  Outline  of  the  History  of  some  screenplays. 


no  question  about  it.     If  you  have  the  goods  the  story  will  sell. 

All  the  magazines  are  studied  by  the  producers  to  find  material.     If  it  is  good,   you   will  receive  an  offer, 
under  anothe, title,  and  you  will  hardly  recognize  it,  but  your  name  will   be   on   the  announcement, 
|       Go    to  it. 


FSnilly   it    will  appear 
and  your   scenario  career   will  be  begun. 


earchers  in  the  ^ZArk 


HOFFMAN  stared,  wondering  at 
the  ebb  of  that  rich  flow. 
"And  what's  more,"  he  said, 
"though  I  hadn't  noticed  it, 
you've  got  a  great  pair  of  grey  eyes,  kid!" 

For  a  moment  Sadie's  frizzed  hair 
seemed  to  require  her  undivided  atten- 
tion. 

"Is  that  so?"  she  said,  'ratting'  a  strand, 
"well,  Cutey,  I'll  say  you  got  judg- 
ment." 

Hoffman's  injured  knee  permitted  him 
to  lean  forward.  He  laid  the  fingers  of 
one  hand  on  hers. 

"Girl,  how  long  are  you  going  to  stay 
with  me?"  he  questioned  with  just  a  note 
of  gentleness. 

"I  dunno,"  she  said,  "guess  I  c'n  hang 
'round  as  long's  necessary." 

Hoffman  surveyed  her  steadfastly. 

"You're  a  good  kid,"  he  assured  her 
gratefully. 

The  afternoon  sped  quickly.  Hoffman 
read  and  took  a  nap,  and  woke  up  to 
find  his  knee  rid  of  much  of  its  soreness. 
The  girl  went  for  a  walk.  Not  until 
after  an  early  dinner  did  they  again  so- 
journ to  the  porch.  Hoffman  managed 
the  trip  easily,  while  Sadie  drew  forth 
another  chair  and  soon  was  curled  ud 
in  it. 

"This  is  pleasant,  isn't  it!"  he  said, 
watching  the  shadows  lengthen. 

"I'll  say  it  is,"  answered  Sadie. 

A  wind  touched  her  with  a  cool  hand; 
a  touch  that  soothed,  yet  at  the  same 
time  stirred  her,  so  that  after  awhile 
she  said  in  a  voice  that  seemed  to  have 
escaped  from  some  hidden  chamber  of 
thought : 

"I  was  thinkin'  that,  since  that  knee  of 
yours  ain't  begun  to  give  you  any  trou- 
ble, I  guess  that,  maybe,  tonight,  I'll  be 
beatin'  it.  Stickin'  around  here  ain't  goin' 
to  pay  my  overhead." 

Against  the  doily  on  the  back  of  Hoff- 
man's chair,  she  saw  the  turn  of  his  head 
break  the  white  line. 

"By  Jove!"  he  exclaimed,  "I  forgot! 
There's  the  question  of  payment!" 

"Say!"  she  said,  "just  because  I  grab- 
bed at  a  chance  to  get  away  for  a  day  or 
two  in  the  country  don't  mean  I'm  troop- 
in'  it  for  the  'long-green'!  I'm  not  ex- 
pectih'  you  to  come  across!" 

Hoffman's  gaze  left  the  lengthening 
shadows  that  were  yielding  to  the  end  of 

80 


Bj  Rose  Qsleason 

(Concluded) 

day  reluctantly.  He  stared  at  her  coolly, 
impersonally. 

"Of  course  I  intend  to  pay  you,"  he 
said,  "don't  you  always  get — er — paid?" 

Sadie  looked  very  small  to  him  as  she 
sat  curled  up  in  the  big  chair,  the  soft 
light  banking  her  young1  face  against  a 
background  that  was  fading  eerily. 

"I  do,"  she  said,  "but  there're  cases 
where  I  don't  collect.  You  happen  to  be 
one  of  them." 

A  slow  smile  swept  Hoffman's  fea- 
tures. A  slightly  bitter  smile,  but  mostly 
skeptical. 

"Well,"  he  said,  "that's  very  nice  of 
you,  but  you  don't  think  I've  lived  this 
long  not  to  understand  that  women  of 
your  type  never  do  the  things  they  do 
do  out  of  sympathy?  You  don't  sup- 
pose I'm  laboring  under  the  delusion  that 
your  kind  are  not  out  for  anything  but 
the  coin  you  can  rake  in!" 

His  remark  was  invested  with  a  brutal 
note,  but  they  had  entered  upon  a  sub- 
ject that  could  not  be  handled  delicately. 
The  effect  on  Sadie  Was  noticeable.  She 
drew  herself  suddenly  erect,  and  what- 
ever friendliness  had  come  into  her  eyes 
began  to  creep  out  of  them, — but  began 
to  creep  out  of  them  tiredly.  A  hard 
line  drew  her  mouth.  One  of  her  hands 
reached  out,  and  finding  the  other  clung 
to  it. 

"Thanks,"  she  said,  "for  the  applause. 
It  reads,  too,  like  a  press  notice  that,  as 
it  happens,  shouldn't  have  been  written 
about  me.  It's  true,  Cutey,  I'm  playing 
a  punk  act, — but  if  I  am,  it's  not  for  my- 
self I'm  playing  it!" 

Their  gaze  locked  and  he  asked  cyni- 
cally, 

"No?   For  whom?    Mind  telling  me?" 

Sadie  looked  away  uncertainly.  Then 
her  head  bent  and  she  sat  still.  And  as 
she  sat  still,  into  her  face  came  sorrow. 
And  when  she  spoke  at  last,  she  spoke  as 
though  her  thoughts  were  live  things, 
stirring  her  and  hurting  her.  Worrying 
her.    Pulling  at  ragged  nerves. 

"I'm  playin'  it  for — my  husband,"  she 
answered.    "He's — he's  in  a  sanatorium." 

Hoffman's  voice  cut  through  with  a 
keen  edge: 

"For  your  husband?  You  don't  tell 
me!" 

"Once,  not  long  ago,"  she  said  quietly, 
trying,  it  seemed,  not  to  lose  her  temper, 


and  seeming  earnestly  to  wish  him  to  be- 
lieve, "I  saw  a  poor  guy  murdered.  It 
seemed  as  though  he  stayed  alive  so  long's 
they  didn't  touch  the  knife, — but  once 
the  interne  took  it  out — ,"  Sadie  twisted 
in  her  chair,  her  hands  wringing  the  chair- 
arms,  "see?  That's  the  way  it  is  with 
Joe.  So  long's  I  keep  him  in  the  sana- 
torium, he — well,  he  keeps  on  living.  But 
take  him  out  an' — !  You  see?"  she 
said  with  an  expressive  shrug,  "he'd  be 
like  the  stiff  they  took  away  in  the  am- 
bulance. I  take  care  of  him  because  I 
love  him.  The  rest  of  you.  guys  don't 
count.  To  me,  you're  all  just  pieces  of 
coin  I  hand  over  to  the  sanatorium!" 

Hoffman  eyed  her  mercilessly. 

"Of  course  you  couldn't  keep  him  there 
and  still  live  decently!  You  couldn't,  for 
instance, — work !" 

Sadie's  smile  was  a  badly  crippled  one. 

"That's — that's  what  he  thinks.  Thinks 
I  work!  I  pretend  to  him  I  gotta  soft 
snap,  but  where  could  /  get  a  swell  job 
that'd  cover  the  thirty-five  bucks  he 
needs  every  week?" 

Sadie  cupped   her   chin   in  one  small 
palm.   Hoffman  viewed  her  derisively. 
"Sadie,"  he  said  tersely,  and  not  plea- 
santly, "you  know,  don't  you,  that  that's 
pretty  old  stuff!    To  spring  it  on  a  bird 
as  wise  as  I  am — !" 

"Oh!  so  you  don't  believe  me!  You 
don't  believe  me!  You  don't  believe  me! 
Well, — I'll  show  you!  I'll  show  you 
something  that'll  wise  you  up!  You'll 
believe  me  before  I'm  through  with  you! 
I've  thought  of  a  way!  I'll  show  you — 
damn  you!"  Her  voice,  high-pitched, 
ended  in  a  choke.  She  sprang  up,  hei- 
fingers  going  to  her  ears;  began  plucking 
at  them, — stripping  them  of  the  black 
rings.  "You  guys  kid  yourselves  a  lot! 
You're  wise,  you  are!"  she  said.  She 
turned  from  the  chair  with  the  swift- 
ness of  a  wild  creature.  "Well — !"  Like 
an  echo  came  back  'her  words  as  she 
darted  into  the  house.  "I'll  show  you! 
You  wait  a  minnit !" 

Came  just  then  the  sound  of  a  water 
faucet  turned  on.  Came  a  ripping  at 
something  that  might  have  been  a  towel 
caught  hard.  Following  this,  sounded  the 
rub  of  energetic  scrubbing. 
Hoffman  reached  for  and  lit  a  cigar. 
Some  minutes  later,  a  sound  drew  his 


it. 
a 


Richard  Dix  in  "Manhattan"  his  first  starring  venture  for  Famous  Players.  He 
has  a  fighting  face  and  this  picture  of  his  daily  training  shows  how  he  got  it. 


attention  to  the  open  door.  Kept  it  there 
during  a  long  minute  in  which  he  opened 
his  lips  to  speak  but  did  not.  His  look 
changed  to  surprise,  then  his  skepticism 
receded  into  a  vague  background,  and 
coming  to  the  fore  was  an  air  of  strong 
incredulousness. 

For  what  he  saw  standing  in  the  door- 
way was  not  a  bit  of  little  painted  low- 
life,  but  a  girl  very  fresh  and  fine  and 
charming.  A  really,  really  nice  girl  whose 
fair-colored  hair  was  pulled  straight  back, 
as  though  it  had  been  wetted  thoroughly 
and  brushed  with  a  stiff  brush,  a  process 
that  had  taken  out  all  of  its  former  frizz. 
Her  eyes  were  grey  and  finely  set, — clear 
crystals  beneath  her  forehead.  Her  lashes 
were  long  and  curling, — not  stiff  and 
heavy  and  black.  And  her  mouth  was  a 
lovely  curved,  but  rather  pale,  line;  not 
rouged  and  thin  nor  hardened;  but  soft- 
lipped, — a  sweet  mouth. 

Attached  to  her  was  not  a  single  orna- 
ment. What's  more,  she  wore  no  dress, 
but  just  a  cheaply  trimmed  white  under- 
slip  that  hung  in  a  straight  line  from 
her  shoulders.  Her  cheeks  were  pale  and 
a  trifle  thin,  but  her  skin,  from  where  he 
sat,  looked  exquisite.  Against  the  soft- 
ened and  dimming  background,  she  re- 
minded Hoffman  of  a  lovely  shot  a  cam- 
era-man might  have  taken  slightly  out  of 


focus.  Delicate,  spirituelle  she  looked, 
—a  subject  faded  in  with  slight  action  on 
the  lens. 

"Why, — Sadie!"  he  said,  his  lips  re- 
maining apart. 

"Noiv!"  she  said,  '  do  you  believe  me? 
Now!  can't  you  guess  I  might  have  been 
nice  once, — before — before  Joe  got  sick 
and  needed  me!  Can't  you  guess  now 
that  under  the  muck—!"  Suddenly  her 
face  went  into  her  arms,  and  a  moment 
later  came  sobs  that  tore  at  her  while, 
at  the  same  time,  they  rendered  him 
thunder-struck.  Sobs  like  those  of  a  lit- 
tle child  crying  out  in  the  dark  when„it 
feels  lonely  and  unhappy.  "Oh,  I  wanta 
be  good!  I'm  not  doing  what  I  do  for 
my  own  self.  Oh,  my  God!  I  should 
say  I'm  not!" 

Hoffman  listened  to  the  sobs  and  won- 
dered what  on  earth  he  could  do  to  stop 
them.  Manlike,  his  reply  came  inade- 
quate : 

"Think  of  it!"  he  found  himself  say- 
ing as  he  looked  at  the  pain  that,  when 
she  lifted  her  head,  he  saw  cringing  far 
back  in  her  grey  eyes,  "a  woman  doing 
all  that  for  some  cuss!" 

Twilight  was   shading  into  darkness 
when,  to  his  surprise,  Sadie,  with  dress 
and  makeup  assumed,  came  to  say  good- 


bye.   Her  farewell  was  characteristic: 

"Once  your  act's  finished,"  she  said, 
her  gaze  on  a  level  with  his  as  he  sat 
on  the  porch  in  the  big  chair,  "you  can't 
■ring  down  the  curtain  too  quick.  Here's 
my  address  in  case  you  ever  wanta  look 
me  up."    She  handed  him  a  paper. 

Hoffman  fingered  the  crumpled  slip.  He 
decided  the  best  thing  to  do  under  the 
circumstances  was  to  let  her  go. 

"Goodbye,  Sadie,"  he  said,  "and  when 
you  get  a  check  signed  by  a  fellow  named 
Kregg,  get  busy,  child,  and  cash  it.  Sor- 
ry I'm  not  able  to  walk  to  the  car." 

At  the  bend  of  the  road  she  turned. 
A  rakish  little  figure  in  the  gay-colored 
dress.  Hoffman  waved  a  hand,  and  for 
a  long  time  after  she  had  disappeared 
from  sight  sat  thinking  of  her;  recalling 
her  odd  ways  and  mentally  comparing 
them  with  the  personality  of  the  girl  who 
had  looked  at  him  from  the  doorway. 
Utterly  different,  the  two,— yet,  in  a  way, 
alike.  One,  a  little  hurt  child,— the  other, 
a  small  injured  animal.  No  longer  did 
he  have  to  surmise  how  Sadie's  face 
would  look  under  the  thick  layers  of  pow- 
der and  rouge,  but  he  wondered  as  he 
sat  there  into  the  night  how  she  appeared 
when  frightened.  It  would  be  difficult,  he 
thought,  to  scare  Sadie,  yet  there  must 
be  times  in  the  other  girl's  life, — the  lit; 

SI 


82 


SCREENLAND 


tie  hurt  child's,  when  she  had  occasion  to 
become  terrified;  panic-stricken;  sicken- 
ingly  desperate. 

"Likable  little  mut,"  he  said,  "blamed 
if  she  didn't  hesitate  to  take  trainfare. 
Suppose  she  thought  I  might  need  it.  Well 
— "  he  added,  rising  stiffly  from  the  chair, 
"you've  certainly  got  to  hand  it  to  old 
Bill.  He  scores  when  it  comes  to  check- 
ing up  these  women.  I'll  wire  him  in  the 
morning  that  he  wins." 

Things  were  quiet  in  the  offices  of 
Jacobson's  Theatrical  Agency.  That  is, 
quiet  for  Jacobson's.  True,  a  stenog- 
rapher pounded  continuously  on  a  type- 
writer, and  the  telephone  rang  incessantly, 
and  the  honk  and  rattle  of  cars  out  on 
Broadway  jazzed  into  the  room  crazily, 
but,  nevertheless,  one  might  describe  it  as 
being  quiet  in  Jacobson's.  It  took  a 
casting  day  at  one  of  the  studios  for 
things  to  liven  up  there! 

Casting  day  at  one  of  the  studios! 
News  of  that  day  gets  out  through  inex- 
plainable  channels  and  runs  up  and  down 
Broadway!  Peers  in  at  stage-doors! 
Scurries  in  and  out  of  the  agencies! 

A  mob  scene  to  be  done  up  at  Bio- 
graph!  Character  types  wanted  at  Su- 
perior! Luxor's  putting  on  some  ball- 
room stuff.  Filmright  wants  a  coupla 
hundred  extras! 

Tortured,  jaded  nerves  tune  up.  The 
Street  becomes  electrified!  Hope  rises! 
Clothes  are  brushed!  Taxis  are  sum- 
moned where  taxis  are  not  afforded! 
Stenographers  phone!  Hurried  calls! 
Wanted, — such  and  such  a  gown!  Calls! 
Calls!     Round  up  the   clan!  Hurry! 

That  is  the  sort  of  day  that  succeeds 
in  putting  pep  into  the  agencies.  But 
this  particular  day  at  Jacobson's  was  not 
like  that. 

At  this  hour  only  two  applicants  were 
in  the  office.  One  was  a  short,  dark  girl 
who  looked  hot  and  uncomfortable  and 
fat.  The  other  was  slight  and  fair  and 
in  spite  of  the  broiling  heat  looked  actu- 
ally cool  and  sweet. 

"Hulloa,  Virginia!"  exclaimed  the  fat 
girl,  "how  you  been  since  I  seen  you  last? 
You  ain't  been  around  here  for  o^er  two 
weeks!  By  the  way,"  she  added,  "I 
gotta  bone  to  pick  with  you!" 

"I've  been  away,"  answered  the  girl 
called  Virginia. 

"So  I  heard,"  went  on  the  other,- "Mar- 
cia  Thompson  said  you  was.  Las'  time 
I  saw  you  was  one  night  at  Sixth  Avenue 
and  Forty-second  Street.  You  was 
checkin'  a  grip  up  in  the  'L'  station. 
Same  night  you  phoned  Marcia  to  take 
care  of  your  trunk  when  the  expressman 
delivered  it  to  her  place.  You  had  on  a 
funny  costume  that  I  suppose  you'd  been 
wearin'  in  some  act,  though  you  weren't 
made  up.  Wondered  how  it  happened 
you  hadn't  changed  it." 

"Sorry,  Nellie,"  said  the  slight  girl 
evasively,  "but  really,  I  didn't  see  you." 


A  Semetic-looking  gentleman  appeared 
in  the  open  door. 

"Will  you  come  in  here,  Virginia?"  he 
requested. 

A  few  minutes  later  she  was  facing  him. 
"See  here,  kid,"  he  said,  "you  should 
beat  it  right  over  to  Filmright.  I  know 
you  got  only  vaudeville  experience,  but 
try  to  get  in  pictures.  You  should  screen 
well.  Castin'  day  ain't  till  next  week, 
but  if  you  go  now  you  might  happen  to 
strike  somethin'.  Had  lunch  today  with 
John  Kregg,  and  J  know  he's  to  be  in  all 
afternoon.  At  any  rate,  kid,  no  harm 
tryin'  it.  This  is  a  tip,  so  you  needn't 
mention  it." 

"Kregg!"  said  the  girl,  her  tongue 
slightly  cleaving  to  the  roof  of  her 
mouth,  "then  it's  at  Filmright  he  directs. 
What  street  is  that  on,  Mr.  Jacobson?" 

"East  Fifty-second.  You  take  a  Forty- 
second  street  crosstown  an'  transfer  at 
Third  Avena." 

"Thanks,"  said  the  girl  with  a  grateful 
nod,  "I  hadn't  thought  to  do  it, — but, 
after  all, — there's  no  reason  why  I 
shouldn't." 
Jacobson  looked  after  her — puzzled. 
"Funny,"  he  thought,  "how  them  that 
stick  to  the  legitimate  still  think  they're 
better'n  them  in  pictures!" 

But,  for  once,  Jacobson  was  wrong. 
Virginia  was  not  entertaining  a  prejudice. 
What  she  was  thinking  of  was  a  director 
named  Kregg,  and  wondering  just  why 
she  should  have  hesitated  to  apply  to 
him  for  work. 

Cleverly  gained  interviews  with  vaude- 
ville booking  agents  had  taught  Virginia 
that  it  is  not  wise  to  register  extreme 
timidity  when  addressing  office  boys,  but 
that,  often,  by  asserting  a  strong  air  of 
assurance,  one  can  bluff  one's  way  to  the 
desired  interview. 

Consequently,  when,  on  entering  through 
the  outer  door  of  the  Filmright  studio, 
she  found  the  lobby  unoccupied  by  any 
but  an  elderly  guardian  of  one  of  the 
above  alluded-to  gates,  she  addressed  him 
with  an  assumed  air  of  confidence. 
"I'm  here  to  see  Mr.  Kregg,"  she  said. 
"Card,  Miss.  I'll  see  if  he's  in." 
With  a  sense  of  failure,  Virginia  hand- 
ed over  her  bit  of  pasteboard,  doubtful 
of  its  ever  getting  any  nearer  to  Kregg 
than  his  private  secretary,  and  refused 
the  questionable  comfort  of  a  wooden 
bench  upon  which  the  doorman  indicated 
she  might  sit. 

With  the  latter's  exit  into  a  narrow 
hall,  matters  might  have  turned  out  very 
differently,  had  there  not  come  to  Vir- 
ginia the  stirring  of  an  aroused  curiosity. 
The  place  seemed  so  somehow  alive  and 
appeared  so  interesting! 

Stepping  close  to  the  high  bars,  she 
peered  through  them  to  an  open  door- 
way directly  opposite.  A  portion  of  the 
main  floor,  which  seemed  to  be  chiefly 
occupied  by  men  in  working  clothes, — 


men  subject  to  the  orders  of  a  coatless 
man  in  shirt  sleeves— came  within  her 
view.  From  other  parts  of  the  room 
drifted  voices  whose  owners  she  had  no 
means  of  locating.  Also,  what  her  pres- 
ent prospectus  permitted  her  to  take  in 
was  a  quantity  of  lumber  of  various 
lengths  and  thicknesses  leaning  end-wise 
against  a  high  wall  as  though  waiting  a 
cue  from  the  carpenters  before  coming 
forward  and  being  used  for  various  pur- 
poses. 

She  saw,  too,  that  suspended  from  a 
lofty  ceiling,  row  upon  row  of  enameled- 
like  electric  bars  attached  to  a  frame- 
work in  a  way  that  reminded  her  of  a 
broken  continuity  of  inverted  footlights 
illuminated  the  huge  space. 

A  sickly  pallor  lay  upon  all  counten- 
ances. Odors,  pungent  and  tinged  with 
the  exotic  and  hinting  queerly  of  some- 
where a  smoking  arc,  weighted  the  air 
that  floated  out  to  her. 

What  a  whiff  of  the  race  track  does  to 
the  nervous  thoroughbred  and  the  smell 
of  grease-paint  and  sawdust  does  to  the 
circus  performer,  the  heat  of  burning 
lights  and  mingling  of  theatre  scents 
never  fails  to  do  to  a  true  professional. 
And  Virginia  was  a  true  professional. 
Stirred  and  vitalized  by  the  tang  of 
things,  she  pressed  closer  to  the  high 
gate  and  began  visualizing  what  the 
studio  must  be  when  ablaze  and  in  pro- 
duction. 

Through  bare,  dim  halls  leading  from 
dressing-rooms  to  the  main  stage,  no 
doubt  beautiful  women  swept  along  in 
gorgeous  costumes.  Good-looking  youths, 
she  judged,  stood  about  in  dress  clothes. 
In  imagination,  she  peopled  the  floor 
with  hundreds  of  extras  gazing  eagerly 
toward  the  big  stage,  and,  added  to 
these,  she  decided  there  must  be  the  ra- 
diance and  the  brilliancy  that  comes 
from  powerful  lights! 

Too,  there  must  be  the  -gleam  and  the  . 
sheen  and  the  rustle  of  rich  silks!  And 
furs!    Russian  sables!    Also,  a  medley 
of  gay  quibs !    And  laughter !    And  shin- 
ing eyes  vying  with  the  flash  of  jewels! 

But  aside  and  above  all  this,  there  must 
be,  too,  the  fierce  heat  and  the  keen 
struggle!  The  despair  and  the  wild 
hopes,  added  to  the  disillusion  and  the 
disappointments,  the  expectations  and 
heart-breaking  drawbacks,  that  go  always 
with  histrionic  attainment. 

Well,  but  wasn't  all  this  another  part 
of  her  own  life?  Weren't  these  people 
her  people!  Wasn't  the  pulsating  Thing 
in  their  blood  the  same  as  that  in  her 
blood!  Professionally,  hadn't  her  family 
been  well  rated! 

Just  as  some  live  thing — say,  for  in- 
stance, a  sensitive  animal — finds  itself 
suddenly  barred  out  of  its  home  and 
stands  longingly  outside  the  entrance, 
getting  the  earth  smell ;  the  dear  scent  of 
things.— just  so  did  the  atmosphere  of 


SCREENLAND 


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SCREENLAND 

the  studio  call  to  Virginia.  It  even  had 
the  effect  of  arousing  a  mental  resistance 
that,  presently,  took  complete  possession 
of  her. 

For  a  full  sixty  seconds  she  stood 
weighing  facts.  Her  chances,  she  knew, 
were  slim  of  getting  to  Kregg.  Yet.  once 
she  got  to  him  she  might  persuade  him 
to  give  her  even  if  only  a  very  small  part. 
The  doorman's  procedure,  she  knew, 
would  be  to  return  with  her  card  and 
the  usual  suggestion  that  a  written  com- 
munication would,  after  all,  be  the  best 
means  of  reaching  the  director. 

Old  stuff.   Treatment  due  an  amateur! 

Yet,  unquestionably,  that  is  what  would 
happen  unless,  unless — ! 

Virginia's  gaze  turned  to  the  latch. 

Settled  there  keenly  figurative. 

She  noted  that  even  though  the  bars 
of  the  gate  were  set  close  that  one's 
hands, — if  they  happened  to  be  quite 
small  ! 

-Without  further  hesitancy  she  reached 
through. 

Lifted  the  latch  after  a  sharp  struggle. 
A  minute  later  she  was  entering  the  big 
room. 

Here  she  encountered  a  compelling 
force  of  concentrated  energy.  Men, 
standing  about  in  groups,  were  heatedly 
discussing  the  building  of  sets.  Electri- 
cians and  props  were  memorizing  orders. 
In  one  corner  of  the  immense  space  a 
coatless  man  was  examining  old  tapes- 
tries. Another,  whom  she  judged  might 
be  head  carpenter,  was  intently  studying 
an  assortment  of  complicated-looking 
blue-prints. 

There  were  chalk  marks  running  across 
cleared  spaces.  Lettered  signs  stood  at 
the  corners  of  these,  warning  trespassers 
to  "Keep  Off!" 

.  Picking  her  steps  over  electric  cables, 
and  carefully  avoiding  a  man  busily  en- 
gaged in  photographing  a  telegram  at- 
tached to  a  blackboard,  she  proceeded 
with  a  sense  of  intrusion  toward  a  huge 
cage  through  whose  locked  doors  she 
could  glimpse  numerous  electric  switches. 

Beside  this  cage,  with  his  back  toward 
her,  as  though  in  an  effort  to  obtain  just 
the  right  light  on  a  photograph  he  was 
examining,  stood  a  man  in  a  well-tailored 
suit. 

Because  this  man  seemed  less  occupied 
than  the  others,  Virginia  decided  he 
would  be  the  best  of  whom  to  inquire, 
where  she  might  find  the  director. 

"I  beg  your  pardon,"  she  said,  making 
an  approach,  "but  would  you  be  kind 
enough  to  tell  me  where  Mr.  Kregg  is?"  • 

The  man  turned  and  was  about  to  re- 
ply, when  suddenly  he  laid  aside  the  por- 
trait. Nor  was  the  information  Virginia 
had  asked  for  forthcoming.  Instead,  he 
straightened  and  bent  forward  at  the  very 
same  instant  that  she,  herself,  gave  a 
deep  gasp. 


That  which  happened  when  Virginia's 
and  Hoffman's  glances  encountered  was 
like  twin  searchlights  sweeping  and  meet- 
ing over  troubled  waters.  For  a  long 
time  she  stood  wide-eyed,  while  the  star 
stared  amazed  and  puzzled. 

"Good  gracious! — you — YOU!"  she  ex- 
claimed, impelled  by  frantic  and  hitherto 
unknown  emotions, — when  just  then  out 
of  chaos  came  his  astonished  voice,  fa- 
miliar and  warmly  welcoming: 

"Holy  smoke!  If  it  isn't  little  Sadie. 
Can  you  beat  this!  Of  all  the  people  in 
the  world!—  Sadie!" 

The  astonished  thrill  of  that  accidental 
meeting  lasted  for  what  seemed  a  long 
time  to  both. 

"How  the  deuce,"  questioned  Hoffman 
finally,  "does  it  happen  that  you're 
here?" 

Virginia's  gaze  absorbed  him  in  a  men- 
tal alchemy,  though  her  reply  was  apro- 
pos of  no  previous  reference. 

"I  must  say  you  don't  look  sick,"  she 
said,  trying  to  summon  up  a  measure  of 
her  usual  self-possession,  "not."  she 
added,  "even  under  these  lights!" 

"Sick!"  he  assured  her  vehemently, 
"why  of  course  I'm  not  sick!  What  made 
you  ?"  His  thoughts  reverted  sev- 
eral weeks  back,  "Oh,  yes,"  he  said  with 
a  short  laugh,  "well,  you  see  it  was  this 
way,  Sadie  " 

Something  in  the  girl's  face  made  him 
pause.  A  look  that  was  a  mixture  of 
anxious  concern  and  something  that 
seemed  to  him  divinely  sweet, — a  some- 
thing of  which  she,  herself,  was  uncon- 
scious, and  which  was  strangely  out  of 
keeping  with  the  suddenly  assumed 
sophisticated  mannerism  with  which  she 
« turned  about  and  faced  the  entrance. 
"I  came  here  because  I  thought  I'd 
try  breakin'  into  the  movies,"  she  ex- 
plained in  the  tone  and  accent  of  the  old 
Sadie,  "but  around  this  joint  I  guess  I 
ain't  got  a  chance.  Funny,  ain't  it, — our 
meetin'  though?  How  come  they  let  you 
in?" 

Taking  in  every  exquisite  detail  of  her, 
Hoffman  continued  to  stare  while  he,  at 
the  same  time,  did  some  deep  thinking. 
Mentally  summing  up  her  apparent  re- 
finement and  charm,  and  comparing  her 
present  appearance  with  that  of  the  girl 
he  had  known  in  the  country,  the  result 
formed  on  his  tongue  an  expression,  ex- 
pressive as  it  is  worn-out : 

"Kid,  there's  some  things  one  can't  do 
without  a  make-up !  For  you  to  continue 
trying  to  convince  me  you're  nothing 
but  a  low-life  is  one  of  them."  Here  his 
glance  lowered  and  touched  hers.  "You  ' 
just  come  on  in  here  to  my  dressing- 
room.  I'm  getting  a  strong  hunch  that 
you've  been  miscast!" 

Determinedly  he  led  the  way  to  his 
own  quarters.  Virginia  followed,  mutely 
wondering.    Placing  a  chair  for  her,  the 


Now  It's  My  Turn 

To  Laugh  at  Him!" 


WE  were  dancing  together  to 
a  beautiful,  lilting  melody. 
I  led  her  gracefully  around 
the  room,  keeping  perfect  har- 
mony with  the  music.  We  were 
thoroughly  enjoying  ourselves. 

And  then,  suddenly,  I  saw  Jim 
standing  near  the  door.    He  was 
watching    us.      But    he  wasn't 
laughing  this  time !    His  eyes  fol- 
;  lowed  us  around  the  room,  won- 
dering,   curious.     He    seemed  a 
little  lonesome  standing  there  in 
the  doorway,  and  I  just  couldn't 
help  drawing  it  to  Jeanne's  atten- 
;  tion.    "Now  it's  my  turn  to  laugh 
at  him !"  I-  said. 
She  grinned  up  at  me.    ''He'll  never 
■laugh  at  you  again!"  she  whispered. 

"I'll  be  there,"  1  said 

"and  I'll  dance" 

I  remembered  that  other  night,  a 
month  ago,  and  was  glad.  Jim  had 
invited  me  to  a  dancing  party,  although 
knowing  very  well  that  I  hardly  knew  one 
step  from  another.  And  he  urged  me  to 
ask  Jeanne  for  a  dance,  knowing  that 
she  was  the  most  graceful  and  talented 
■  dancer  in  the  room.  I  was  horribly  self- 
conscious,  clumsy  as  a  boor,  stepping  all 
over  her  toes  and  leading  her  right  into 
other  couples.  It  was  torture.  And  then 
I  saw  Jim  standing  in  the  doorway, 
laughing.  Other  couples  had  stopped 
dancing  to  watch  us,  and  were  laughing 
too.    I  was  the  goat ! 

It  was  a  humiliating  experience,  and 
the  next  time  Tim  invited  me  to  a  dance 


I  refused.  "Tired  of  dancing  already?" 
he  asked,  laughing  slyly.  That  laugh, 
somehow,  irritated  me.  "I'll  be  there!" 
I  said  grimly — "and  I'll  dance!" 
I  sent  for  the  five  three  lessons 
That  evening  I  sent  off  a  coupon  to 
Arthur  Murray  asking  him  for  the  five 
lessons  that  he  offered  free.  I  would 
show  Jim — I  would  show  all  of  them! 
They'd  never  make  me  the  goat  again. 
I'd  become  a  good  dancer,  as  popular  as 
any  of  them. 

Arthur  Murray's  five  free  dancing  les- 
sons arrived  just  the  evening  before  the 
dance.  It  was  fun  to  follow  the  simple 
diagrams  and  instructions.  I  practiced 
before  a  mirror.  I  quickly  mastered  a 
fascinating  new  fox-trot  step.  I  learned 
how  to  lead,  how  to  dance  in  harmony 
with  the  music.  I  acquired  a  wonderful 
new  sense  of  ease  and  poise.  I  could 
hardly  wait  for  Jim's  dance. 

And  then — that  wonderful  dance  with 
Jeanne !  She  had  hesitated  when  I  asked 
her,  but  she  was  too  polite  to  refuse. 
The  orchestra  was  playing  a  fox-trot,  and 
I  swung  her  gracefully  into  the  rhythm. 
She  was  an  exquisite  dancer,  and  we  in- 
terpreted the  dance  like  professionals.  It 
was  a  triumph.  Everyone  was  amazed, 
and  especially  Jim.  He  stood  in  the 
doorway  watching  /us — the  very  doorway 
where  only  a  short  time  ago  he  had  stood 
and  laughed.  Laughed!  Well,  it  was 
my  turn  to  laugh  now! 

Jeanne  and  I  finished  the  dance  to- 
gether. Others  stopped  to  watch  us. 
Jeanne  was  smiling — others  were  smiling 
— soon  everyone  was  smiling  and  applaud- 
ing.   I  was  popular. 


/  never  dreamed  that  knowing  how  to 
dance  well  coidd  make  anyone  popular  so 
quickly. 

You,  too,  can  quickly  learn,  dancing  at 
home,  without  music  and  without  a  part- 
ner. More  than  200,000  men  and  wo- 
men have  become  accomplished  dancers 
through  Arthur  Murray's  remarkable  new 
method. 

I  found  it  great  fun 

Send  to-day  for  the  five  free  lessons. 
They  will  tell  you  more  than  anything 
we  could  possibly  say.  These  five  lessons 
will  tell  you  the  secret  of  leading,  how  to 
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dence, how  to  fox-trot  and  how  to  waltz. 
These  complete  five  lessons  are  yours  to 
keep,  without  obligation.  Arthur  Mur- 
ray wants  you  to  send  for  them  at  once 
— to-day — so  that  you  can  see  for  your- 
self how  quickly  and  easily  dancing  can 
be  mastered  at  home.  You  will  find  it 
fun  to  follow  the  simple  diagrams  and  in- 
structions. 

Clip  and  mail  this  special  coupon  NOW 
for  the  five  free  lessons.  There  is  no 
obligation.  Please  include  25c  to  cover 
the  cost  of  handling,  mailing  and  printing. 
ARTHUR  MURRAY,  Studio  316,  290 
Broadwav.  New  York. 


Arthur  Murray,   Studio  316 
290  Broadway,  New  York 

To  prove  that  I  can  learn  to  dance  at  home 
in  one  evening,  you  may  send  me  the  FIVE 
FREE  lessons  by  Arthur  Murray.  I  enclose 
25c  to  pay  for  the  postage,  printing,  etc. 
This  does   not  obligate  me  in  any  way. 

Nome   

Address   "  

Citv  State   


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actor  seated  himself,  and  soon  she  was 
listening  to  his  side  of  their  story.  Lis- 
tening to  it  as  told  in  concise  detail. 

"And  now,  young  woman,"  he  ex- 
claimed, having  explained  the  circum- 
stances of  the  bet  and  aware  of  her  evi- 
dent amusement,  "for  the  love  of  Mike, 
tell  me  who  you  are!" 

Five  minutes  later  he  sat  mentally  di- 
gesting what  she  had  said. 

"Just  let  me  get  this,"  he  said  weight- 
edly,  "you  say  Kregg  hired  this  Monroe 
girl  to  impersonate  a  low  woman;  that 
you,  at  the  time — in  order  to  reduce  ex- 
penses— shared  her  apartment;  that,  when 
Kregg  had  succeeded  in  convincing  the 
Monroe  girl  that  there  was  foundation 
to  the  cock-and-bull  story  he  told  about 
a  friend  of  his  whom  he  described  as  a 
down-and-outer, — a  story  she,  in  turn,  re- 
peated to  you  an  hour  later  when  she 
joined  you  in  the  restaurant,  you  feeling 
that  the  only  right  thing  for  you  to  do, — 
since  evidently  Kregg's  'friend's'  future 
depended  upon  it,  and  since  this  other 
girl  reiterated  her  determination  of  pull- 
ing something  crooked, — was  for  you  to 
step  into  the  role  of  the  street-walker 
and  outwit  her?" 

Virginia  was  not  unhappily  conscious 
that  one  of  his  hands  reached  out  and 
covered  hers. 

"Yes,"  she  said,  and  he  was  aware  of 
an  earnest  little  note  in  her  speech,  "and 
another  reason  I  got  ahead  of  Rita  that 
night  on  Sixth  Avenue  was  because  I  was- 
anxious  to  see  if  I  could  put  over  the 
part  professionally.  You  see  I  had  noth- 
ing in  the  world  to  do  and  as  I've  acted 
in  some  sketches  in  vaudeville  and  hap- 
pened to  own  a  costume  that  would  fit 
the  " 

"Speaking  of  putting  over  a  part," 
Hoffman  broke  in  reflectively,  "I'll  see 
that  you  get  one  in  my  next  production, 
even  though  it's  all  cast  except  for  the 
leading  role.  Haven't  any  one  who  just 
suits  me  for  that  yet." 

In  the  dressing-room  there  was  a  quiet, 
during  which  the  actor  looked  across  a 
strictly  masculine  room,  and  during 
which  Virginia's  glance  remained  on  him. 
Held  there  by  something  not  definable. 

"Why?"  she  asked.  "Is  the -part  un- 
usually difficult?" 

"Difficult  and  a  big  role!  It'll  make 
the  actress  who  does  it  as  it  should  be 
done.  It  took  me  a  long  time  to  see  that. 
I'm  thoroughly  convinced  now,  however, 
that  the  play's  a  fine  thing!" 

Going  into  greater  detail  than  he  had 
gone  when  describing  the  events  con- 
nected with  their  meeting,  he  described 
Graves'  play  and  the  woman's  role. 

As  he  talked,  Virginia  listened,  her 
eyes  widening,  and  now  and  then  she 
drew  a  faint  breath.  When  he  finished 
a  little  sound  came  from  her;  a  little 
whimper  like  the  cry  of  a  wish,  newborn 


and  sucking  hungrily  at  the  heart  of  a 
Great  Desire.  Into  her  gaze,  too,  came 
the  light  of  far  vision.  Into  it,  also,  canSe 
creeping  something  poignant. 

"Well,"  she  said,  leaning  ever  so  clo: 
and  in  a  tone  in  which  there  was  a  fer 
vent  hope,  "the  one  you  select  to  play 
such  a  role  should  be  an  artist  with  whose 
work  you  are  familiar.  And,  at  some 
time  or  other,  she  should  have  convinc- 
ingly played  some  such  role.  Can't  you! 
recall  ever  having  seen  any  one  do  similar 
work?  Some  one  you've  seen  act  the  thin? 
out  in  every  detail?" 

Manlike,  he  was  unconscious  that 
prayer  was  shadowing  her  grey  eyes  until 
they  lay  in  her  face  like  something  buried 
under  a  layer  of  fine  dust.  Manlike,  too, 
he  was  thinking  that  she  was  really  lovely 
and  was  even  deciding  that,  undoubtedly 
she  would  photograph. 

"Not  a  soul,"  he  said,  "that  isn't  under1 
contract.  There's  Mae  Ferris,  you  know 
— she  might  do,  but  she's  so  darn  good 
there's  no  getting  hold  of  her.  And 
there's  Stratton,  now,  but  she's  objectec 
to  the  'character'  touch  " 

Virginia's  look  was,  penetrating,  even 
though  her  remark  came  to  him  keenly 
suggestive : 

"Imagine!"  she  exclaimed,  "refusing  to 
portray  such  a  role  on  the  ground  that  * 
one  objects  to  doing  'character'!  Wh} 
any  real  artist  would  sell  her  soul!— 


well,  it's  not  likely  I'll  ever  get  such  an 

offer,  but—!" 

Hoffman  turned  suddenly  and  looked 
Frowned.  Then  his  gaze  concentrated 
and  when  he  spoke  he  spoke  as  though 
there  were  something  he  had  just  dis- 
covered. 

"You  get  such  an  offer!  You!  Why, 
Great  Caesar's  ghost — !" 

He  broke  off  and  again  glanced  around 
the  room.  Virginia  felt  a  thousand  years 
settling  down  and  weighting  them, — suf- 
focating her  until,  at  last,  he  laughed 
slightly. 

"Why, — why,  I  hadn't  thought  of  you! 
You  don't  suppose,  do  you,  Sa — ,  Vir- 
ginia ?" 

Again  he  stopped  and  again  Virginia 

spoke : 

"No,  sir!  When  you  pick  that  baby 
you  want  to  pick  on  some  one  you 
know, — some  one  in  whom  you  can  place 
every  confidence  because  her  acting  can 
either  be  so  bad  or  so  good  that  she  can 
kill  your  part  or  else  build  it  up  tre- 
mendously!" 

Virginia's  hands  twisted  in  a  tight  fold. 
Some  of  her  loveliness,  for  the  moment 
departed.  Little  crying  lines  revealed 
themselves  in  her  features,  while  in  her 
eyes  there  burned  a  consuming  hope. 

Hoffman  rose  and  thoughtfully  crossed 
the  room.  Having  crossed  it  he  turned 
and  came  back.  Some  thought,  it  seemed 
had  finally  crystallized,  and  from  behinc 


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it  he  looked  down  and  regarded  her.  Vir- 
ginia met  his  glance  with  a  straight  look. 
A  look  that  prompted  him  to  stare  a 
little  awestruck.  Then  his  lips  parted 
and  finally  he  said  with  that  fine  smile 
that  when  registered  on  the  screen  caused 
mothers  to  think  of  their  favorite  sons 
and  old  ladies  to  write  him  of  their  first 
loves. 

"Why,  of  coarse!  Great  Caesar!  You! 
It's  you  who  shall  have  the  leading  part ! 
After  that  performance  of  yours  which 
only  /  have  seen,  no  one  else  could  ever 
qualify.  By  Jove  —  of  course  —  now 
that  I  come  to  think  of  it  !" 

Virginia  rose,  and  in  gripping  him, 
stepped  close,  the  while  her  heart 
pounded  so  that  she  wondered  if  he  could 
discern  her  throat  beat. 

Hoffman,  with  arms  folded,  smiled  con- 
fidently.   There  are  moments  too  utterly 


full,  and  he  was  guessing  that  to  Vir- 
ginia this  was  one  of  them.  When  she 
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swept  over  him. 

''I  ought  to  thank  you,"  she  said,  her 
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"See  here,"  he  said,  "I'm  glad  it's  to 
be  you.  And  after  this  play  there're  to 
be  others — !"  Their  gaze  met,  hers 
shining,  his  whimsical,  yet,  in  a  way, 
serious.  "Stick  around,  honey,"  he  added 
quietly  possessive,  "you  and  I  have  just 
started  getting  acquainted!" 


Miss  Vera  Reynolds  in  "Cheap  Kisses; 
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How  to  get  youaswc 
OF    GOOD  LOCK 


SCREENLAND'S  covers  have  created  much  favorable 
comment.  W.e  are  pleased  to  print  the  letter  below  from  John 
W .  Barrett  ofA^i  Gregory  Avenue,  W eehaivken  Heights,  N.  J. : 

Editor  of  Screenlanw: 

For  years  the  movie  fan  has  been  obliged  to  turn  hastily  past 
the  cover  of  the  magazine  to  find  pictures  of  his  favorites 
which  bore  some  slight  resemblance*  to  the  players  themselves. 
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studied  this  picture  with  the  feeling  that  this  indeed  is  Hope 
Hampton. 

Yours  truly, 

John  W.  Barrett. 


SCREE  N  L  AND 


89 


How  to  win 
'hold  lov 

"I  love  you!"  When  a  girl  hears  those 
three  little  words  whispered  in  her  ear  by 
the  "only  man  in  the  world,"  her  su- 
preme moment  has.  come.  She  has  won 
his  heart.  All  her  dreams,  her  hopes,  her 
longings,  have  ended  happily.  She  stands 
on  the  threshold  of  womanhood  with  the 
love  of  a  good  man  locked  in  her  bosom. 
Happy,  happy  girl! 


I  love  you" — the  supreme  moment  in  a  girl's  life. 


But  unfortunately,  many  girls  never  ex- 
erience  such  bliss.  They  wait  and  wait  for 
leir  "Dream  Man,"  but  he  never  comes. 
E's  a  startling  truth  that  three  out  of  four 
iris  can't  marry.  That  is  because  every 
par  a  million  marriage- 

jble  men  have  four  mil-  

Ion  marriageable  girls 
bom  whom  to  choose  a 
iiate. 

Then,  too,  many  an 
^nocent  girl  has  been 
»d  to  undreamed-of 
[eights  of  happiness  by 
tiese  three  little  words 
jl  love  you"  only  to 
'barn  later  that  the  man 
Iras  using  her  as  a  play- 
Ihing,  a  passing  fancy, 
jfhese  three  little  words 
nay  lead  to  infinite 
iiappiness  or  a  broken 
fceart.  What  are  the 
Motives  behind  them? 
tt'ou  must  know  and  you 

an   know   if   you  are 

amiliar  with  the  rules 
if  the  fascinating  game 
If  love. 


ou  can't  afford 
to  lose 


What  do  you  know 
about  love? 


Many  broken  hearts, 
wrecked  fortunes,  sui- 
ule  and  ruin — all  caused 
joy  men  and  girls  play- 
ng  in  the  game  of  love 
ivithout  knowing  the 
rules.  All  of  our  schools 
teach  many  important 
subjects,  but  the  most 
important  subject  in 
your  life — the  subject 
of  love — you  are  ex- 
pected to  learn  in  the 
'school  of  bitter  ex- 
perience." Love  is  a 
dangerous  game  if  you 
do  not  know  its  rules. 
Those  who  know  the 
rules  are  rewarded  with  happiness  and  suc- 
cess. You  play  in  the  game  of  love — what 
do  you  know  about  it? 

Love  problems  solved 

Sana  Swain,  a  recognized  authority  on 
affairs  of  the  heart,  gives  the  necessary 
advice  to  enable  you  to  win  in  the  game  of 
love.    Sana  Swain  lays  bare  the  innermost 


When  does  jealousy  destroy  love? 
Do  men  prefer  cleverness  to  beauty? 
How  to  control  an  ardent  lover? 
Does  unrestrained  spooning  kill  love? 
When   is  kissing  dangerous? 
How  to  cure  a  flirtatious  lover? 
How  to  handle  a  jealoua  lover? 
How  to  hold  love  at  17.  27,  35? 
How  to  develop  charm   and  person- 
ality? 

How  to  recognize  your  love  mate? 
Spooning    privileges    before  engage- 
ment? 

How,  when  and  where  to  propose? 
How  to  encourage  a  proposal? 
Should    secrets   of   the   past  be  told 

before  marriage? 
When  is  dancing  dangerous  to  morals? 
Petting    parties — are   they  wrong? 
How   to    prevent   undesirable  spoon- 
ing? 

How  to  be  popular  with  the  oppo- 
site sex? 

How   "old-fashioned"  girls  get  hus- 
bands? 

When  should  a  lover  be  romantic? 
When   is  a   "good    night  kiss"  per- 
missible? 
What  is  an  ideal  mate? 
Proper   etiquette   at   the   table,  the 

theatre,  the  dance? 
How  to  win  back  a  lost  love? 
How  to  resist  temptations? 
How  to  prevent  blushing? 
How  can  a  disappointed  lover  forget? 
Must  a  girl  kiss  to  keep  a  sweet- 
heart? 

Are  mixed  marriages  always  unhappy? 
How  to  attract  a  desirable  suitor? 
How  should  the  modern   young  man 

make  love? 
Should  the  girl  regulate  spoontng? 
How  much  money  must  a  man  have 

to  marry? 
How  to  encourage  "steady  company'? 


thoughts  of  lovers  and  frankly  reveals  the 
scheming  and  planning  of  men  and  women. 
The  intimate  problems  that  confront  your 
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This  wonderful  book 
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Swain's  Dictionary  of 
Advice  tells  you  what  to 
do  and  say  on  all  occa- 
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made  friendships. 

Sana     Swain's  Dic- 
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men  or  women  wouldn't 
dare    ask    their  closest 
friend.    It  tells  you 
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interest  into  love; 
how  to  avoid  long- 
drawn-o  u  t  court- 
ships ;  and  how  to 
quickly  read  every 
man's  intentions.  A 
letter  from  M.  E.  B. 
of  New  York  says: 
"  'Just  a  pal'  but  never  a  sweetheart 
was  my  trouble.    Men  played  around 
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I'm  a  happy  bride." 


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Some  girls  may  kiss  before  engagement — 
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If  you  hope  to  win  love  or  hold  a  present  love 
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SANA    PUBLISHING  CO. 

Box  8,  Station   K.  New  York  City. 

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antee  protects  yon. 
AKTEX  CO. .Dept. 


ing  linger  size.  Our  guar- 
1133  B'way.,  N.  V.  City.  N.Y. 


Mark  Gonzales  who  will  be  seen  on 
Broadway  as  a  young  Italian  officer  in 
''Dangerous  Money,"  late  in  October, 
has  been  selected  to  play  an  important 
role  in  "Argentine  Love,"  under  the 
Famous  Players-Lasky  banner.  Mr. 
Gonzales  wishes  to  say  that  he  is  not  an- 
other Valentino  nor  a  Navarro — he  is  a 
Gonzales,  first — last  and  all  the  time.  He 
is  the  grandson  of  one  of  Havana's  most 
celebrated  physicians  and  deserted  ma- 
teria medica  for  the  screen.  - 

All  the  color  and  drama  incident  to 
Paris  night  life  in  the  higher  circles  of 
society  and  the  slums  of  the  French 
capital  will  furnish  a  background  for 
"Parisian  Nights,"  the  second  big  Gothic 
Pictures  special  to  be  released  by  Film 
Booking  Offices  of  America. 

The  production  will  be  made  for 
Gothic  under  the  supervision  of  B.  P. 
Fineman.  The  story  was  written  as  an 
original  by  Emile  Forst  and  adapted  by 
Doty  Hobart.  Al  Santell  who  recently 
completed  "Fools  in  the  Dark"  and 
"Lights  Out"  for  F.  B.  0.  will  direct. 

Jack  Collins,  former  well  known  news- 
paper cartoonist  in  New  York  and  more 
recently  a  gag  man  in  the  service  of 
Mack  Sennett  and  Lloyd  Hamilton,  has 
been  added  to  the  production  staff  of 
"The  Go-Getters"  by  General  Manager 
B.  P.  Fineman  at  F.  B.  O.  Hollywood 
studios.  _  Collins  will  co-operate  with 
George  Marion,  Jr.,  author  of  the  "Go- 
Getters"  stories. 

Elmer  Clifton  writes  from  Timaru, 
New  Zealand,  that  he  saw  "Broken 
Blossoms,"  in  the  most  southerly  theatre 
in  the  world.  He  reports  that  this  screen 
masterpiece  with  Dicky  Barthelmess  and 
Lillian  Gish  went  over  big  and  the 
drama  held  everyone  from  start  to  finish. 
"You  could  cut  the  tense  silence  with  a 
knife,"  he  adds.  He  is  now  on  the  high 
seas  bound  for  India. 

When  are  freckles  an  asset?  Occasion- 
ally— only  very  occasionally  in  motion 
pictures. 

Joan  Standing,  appearing  with  Mrs. 
Wallace  Reid  in  "Broken  Laws,"  has  the 
largest,  highest  salaried  collection  of 
freckles  on  the  silver  screen. 

Wesley  Bary  became  a  star  on  the 
strength  of  his  freckles.  Little  Micky 
of  "Our  Gang"  comedies  draws  a  fat 
weekly  envelope  for  his,  but  Joan  Stand- 
ing is  the  only  "female  of  the  species" 
who  cashes  in  on  what  most  women  con- 
sider a  disfigurement  and  spend  large 
sums  of  money  to  get  rid  of. 

In  "Broken  Laws"  Miss  Standing, 
who  by  the  way,  is  a  daughter  of  the  late 
Herbert  Standing  and  a  sister  of  Wynd- 
ham,  plays  a  maid  servant  whose  years 
of  service  in  the  Allen  family  have  made 
her  a  privileged  character.    The  comedy 


of  Miss  Standing's  characterization  is 
greatly  enhanced  by  the  fact  that  she 
uses  no  make-up  at  all,  but  displays  her 
freckles  to  the  advantage  of  her  salary 
envelope. 

Mae  Marsh  arrived  in  Los  Angeles  this 
week,  where  she  immediately  went  into 
conference  with  a  producer  who  it  is 
rumored  is  to  star  her  in  two  produc- 
tions. Miss  Marsh  could  have  stayed 
abroad  and  made  two  more  pictures,  but 
after  completing  "Arabella,"  in  Germany, 
she  decided  to  return  to  the  United 
States. 

Here  is  Walter  Long's  new  role:  A 
London  opera  singer  crazed  on  the  night 
of  his  sensational  debut,  commits  mur- 
der, escapes  to  Africa  and  becomes  a 
river  thief  and  slave  trafficker  of  the 
jungles.  All  of  Walter  Long's  previous 
characterizations  put  together  will  barely 
equal  in  color  this  new  part  which  has 
been  awarded  him  by  B.  P.  Schulberg  in 
the  Preferred  Picture,  "White  Man." 

"Trigger-Fingers"  is  the  title  of  -the 
first  of  the  Texas  Ranger  series  starring 
Bob  Custer,  which  Independent  Pictures 
Corporation  is  making  for  F.  B.  O.  re- 
lease. "Trigger-Fingers"  is  a  very  high- 
class  Western  production,  which  was 
written  especially  for  Douglas  Fairbanks 
and  re-purchased  for  Custer.  Bob  Cus- 
ter's horse,  a  handsome  animal  with 
human  intelligence,  will  play  an  impor- 
tant role  in  the  production. 

Reeves  (Breezy)  Eason  has  been 
chosen  to  direct  the  series.  Mr.  Eason 
is  a  well  known  director. 

The  story  that  the  blase  residents  of 
Hollywood,  Culver  City  and  other 
movie  capitals  are  so  used  to  seeing 
pictures  made  that  they  pay  no  atten- 
tion to  street  chases,  mob  scenes,  etc., 
is  a  myth. 

They  do  not  tire  of  seeing  pictures 
made  any  more  than  the  farmer  in  the 
field  tires  of  seeing  the  Twentieth  Cen- 
tury Limited  pass.  He  will  always  stop 
work  to  watch  it  go  by,  and  so  do  people 
living  where  pictures  are  made  every 
day. 

Street  "shots"  at  Culver  City,  home 
of  the  Thomas  H.  Ince  Studios,  will 
hold  a  crowd  of  natives  all  day  long, 
while  several  thousand  persons  almost 
broke  down  the  fence  to  watch  night 
scenes  recently. 

S.  L.  Rothajel  is  arranging  another  of 
the  elaborate  programs  for  which  the 
Capitol  Theatre  is  famous,  to  provide 
the  surrounding  atmosphere  for  the 
Elinor  Glyn  production,  "His  Hour," 
William  Robyn,  with  the  support  of 
Florence  Mulholland,  Marjorie  Harcum, 
Gertrude  McKinley,  Vivian  Kelly,  Joseph 
Wetzel,  Avo  Bombarger,  Pierre  Harro- 
wer,  James  Parker  Coombs,  Sneddon 
Weir  and  Frank   Moulan.   the  pop'jk' 


SCREENLAND 


91 


nedian,  the  Capitol  Male  Ensemble 
iisting.    Mile.  Gambarelli,  ballet  mis- 

ss  and  the  entire  Ballet  Corps  will  be 
fen  in  a  series  of  Hungarian  Folk 
inces;  the  Capitol  Grand  Orchestra 
11  play  Tchaikovsky's  "Marche  Slav," 
d  Rachmaninoff's  '-'In  the  Silence  of  the 
ight"  sung  by  William  Robyn  and  Ruth 
illiams  provides  the  opening  atmo- 
jhere  for  "His  Hour." 
'The  first  of  a  new  series,  "Celebri- 
jlpes,"  shows  some  intimate  close-ups  of 
E-x  Beach,  Neysa  McMein,  Rube  Gold- 
Irg,  Hudson  Maxim,  Anita  Stewart, 
irgei  Rachmaninoff,  Seena  Owen,  Eddie 
antor,  Grover  Whalen,  Johnny  Hines, 
poke  Johns,  Vincent  Lopez  and  Phil 
;iyne,  editor  of  the  Daily  News. 

'Gamier 's  knowledge  of  Africa  is  serv- 
ig  him  in  good  stead  for  the  direction 
I  D.  P.  Schulberg's  Preferred  Picture, 
White  Man."  This  is  George  Agnew 
hamberlain's  story  of  the  African  wil- 
srness  in  which  Alice  Joyce  will  re- 
|rn  to  the  screen.  Gasnier  once  occu- 
fed  a  governmental  clerkship  in  the 
Iranco-African  colonies. 

Priscilla  Dean  as  a  committee  of  one 
^presenting  the  Los  Angeles  screen  stars 
reeted  the  world  flyers  upon  their  ar- 
jval  in  San  Diego  and  afterward  enter- 
^ined  them. 

i  Miss  Dean,  it  will  be  remembered, 
issed  each  one  of  the  flyers  good-bye 
nd  presented  them  with  good  luck 
bkens  when  they  started  upon  their 
lobe-encircling  journey. 

After  the  formal  greeting  at  San 
piego,  Miss  Dean  flew  with  the  air 
ieroes  to  Clover  Field  in  Santa  Monica 
fhere  a  public  reception  was  held  after 
j/hich  Miss  Dean  carried  them  off  in 
jriumph  to  her  home, 
i  "Trouping  with  Ellen"  from  Eastern 
'roductions,  Inc.  with  Helene  Chadwick 
a  the  stellar  role  heads  the  October  list 
nd  will  be  released  on  the  5th.  It  is 
.  story  of  theatrical  life  by  Earl  Deir 
diggers  originally  published  in  The  Sat- 
irday  Evening  Post. 

This  production  is  the  second  picture 
Production  by  Eastern  Production  and 
vas  directed  by  T.  Haynes  Hunter.  An 
xceptionally  strong  cast  including  Gas- 
on  Glass,  Tyrone  Power,  Ernest  Hilliard, 
,S.iIey  Hatch,  Basil  Rathbone,  Mary 
Ihurman.  Jane  Jennings,  Charles  Mc- 
Donald, Zena  Keefe,  Kate  Blanke  and 
|£sther  Banks  appear  in  support  of  Miss 
|3hadwick. 

'  The  House  of  Youth"  starring  Jac- 
queline Logan  is  an  adaptation  by  C. 
Gardner  Sullivan  of  Maude  Radford 
Warren's  popular  novel  of  the  same  title. 
This  is  a  Regal  Pictures  offering  pro- 
duced under  the  direction  of  Ralph  Ince, 
'[and  is  set  for  release  on  October  19th. 

The  names  of  several  popular  players 
appear  in  the  supporting  cast  that  in- 
cludes Richard  Travers,  Hugh  Metcalf, 

(Barbara  Tennant,  Edwin  Booth  Tilden, 
,  Vernon  Steele,  Nola  Lustford,  Lucila 
[Mendez  and  Elsie  Manning. 


Rectangular  WRIST  WATCH 

18-K  White  Gold,  17  Jewels. S29.7S 
J4-K  White  Gold.15  Jewels, S24.8S 

Delivered  on  first  payment  of  $3; 
then  $  1  .OO  a  Week  thereafter. 

Wonderful  bargainB  in  Diamond- 
Bet  Wriat  Watchea  at  S85.  $100, 
S125.  EASY  CREDIT  TERMS. 


I 


DIAMONDS  W/VTCHES  4 


CASHor  CREDIT 


SEND  FOR  FREE  CATALOG 

Over  2,000  lllaatratlona  of  Diamond-set  Jewelry,  Watches. 
Wrlat  Watchea,  Silverware,  etc.  Sent  prepaid  for  your  Free 
Examination.  Satisfaction  Guaranteed  or  Money  Back. 

Railroad  Watches— Guaranteed  to  Pass  Inspection 

HAMILTON  No.  992,  21  Jewels,  Adjusted  to  6  Posl-  SEE 
tlona.   Gold  filled  25-Year  Case      .      .      .      .  ..22 

ELGIN'S  LATEST  RAYMOND,  21  Jewels,  8  Adjust-  JEE 
merits.  Runa  40  houra  one  winding.  Gold  filled  caae.  WW 
Delivered  on  first  pay-  $4  .OO  •>  IA/aalf 
ment  of  $S.SO.  then  «■  "vCIV 

LOFTIS  BROS.  &  CO.  National  Jewelers 

Dept.  F-26  IOS  N.  State  St.,  Chicago,  III. 
mm^^mammmStores  in  Leading  'Vi'^amm 


17  JEWELELGIN  WATCH 

No.  15— Green  Gold  filled, cnfiTaved; 
assorted  patterns.  Guar-  £00 
anteed  26  yearB.    12  Size, 

It  dial      ....  . 

Delivered  on  first  paymont  of 
$3.25;  than  $1.00  a  Week  there- 
after until  paid.   Special  value. 


Reduce 
(Ybuv  Fat 


Slim 


i  Too  - 
:an  Have  a 

Figure 

Without  Baths.Exercise, 

Diet  or  Massage 

There  is  no  need  of  enduring  the  embarrassment,  in- 
convenience and  dangers  of  superfluous  fat  another  day, 
for  it  is  now  possible — and  delightfully  easy — to  reduce 
to  normal  weight  with  comfort  and  safety. 

Thousands  of  women  in  business, 
society  and  on  the  stage  now  know  what 
it  means  to  be  "Slender  at  Last!"  More 
than  3000  letters  are  already  on  file  at 
the  Graham  Sanitarium,  testifying  in 
gratitude  and  praise  to  the  amazing 
benefits  of  Neutroids,  the  famous  pre- 
scription of  Dr.  R.  L.  Graham. 

Neutroids  counteract  the  yeast- 
producing  alcohol  in  the  stomach, 
check  the  fat  at  its  source  and  reduce 
r..  c  •  <-,,h„n  unsightly  fat  already  accumulated.  This 
Dr.  k.  l.  branam  pieasant  remedy  quickly  relieves  nausea, 
headaches,  dizziness,  high  blood  pressure  and  other  ills  of 
obesity  and  restores  you  to  normal  weight  and  health. 
Neutroids  are  guaranteed  to  contain  no  thyroid  or  habit- 
forming  drugs  and  may  be  taken  with  absolute  safety. 
Personal  Consultation  Without  Charge 
Dr.  Graham  would  be  pleased  to  have  you  consult  him 
personally  at  his  sanitarium  or  if  you  can  not  conveniently 
call,  you  may  feel  quite  free  to  write  him  for  professional 
advice  regarding  your  case.  This  offer  is  open  to  all  who 
order  Dr.  Graham's  prescription  Neutroids,  using  the 
coupon  below. 

GUARANTEE  ELIMINATES  RISK 
Dr.  Graham  guarantees  Neu- 
troids to  give  satisfactory  re- 
sults; and  that  his  prescription 
may  be  taken  with  safety  by 
any  one.  Every  woman  or 
man  who  wishes  to  regain  or 
retain  the  youthful  slender 
appearance  and  vigor  of  youth 
will  use  this  coupon  without 

delay.   

Dr.  R.  Lincoln  Graham,  123  East  89th  Street,  Dept. 
M-3H  c/o  The  Graham  Sanitarium,  Inc.,  New  York  City: 
Send  me  2  weeks'  treatment  of  Neutroids  which  entitles 
me  to  free  professional  mail  consulting  service  and  free 
booklet  on  Obesity.  I  will  pay  postman  S2  (plus  15c 
postage)  on  arrival  of  the  Neutroids  in  plain  package.  I 
understand  mv  money  will  be  refunded  if  I  do  not  get  a 
satisfactory  reduction  from  this  2  weeks'  treatment. 

Name  

Address  


Watch  for 
REAL  LIFE  STORIES 

Better  than  ever  next  month. 


JOIN 
THE 


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Hurry!    Join  our  next  contest.    Win  a 

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We  gave  Eugenia  Feiner,  a  Missouri  girl, 
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plaving  with  Lloyd  Hughes.  We  also 
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picture.  Tou  can  be  the  next,  and  get  a 
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A  new,  easy  plan  to  get  your  start  in 
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tremendous,  appealing  pic- 
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will  be  filmed  by  the  Chad- 
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this  coming  January.  If  you 
want  to  join  the  movies, 
"here's  your  chance."  For  full  particu- 
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Dept.  51  ST.  FALL,  MINN. 


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OT  stationary  engine.  Makea  old  cars  better 


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Hudson  20  mU 

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uouge  ■  Overran... 32 ml.   

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BOYS  and  GIRLS 
Earn  Xmas  Money 

Write  lor  SO  Sets  St.  Nicholas  Christmas  Seals. 
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2814  Glenwood  Rd.  Dept.  198,  Brooklyn, N.Y. 


92 


SCKEENLAND 


FRECKLES 

THE  OLD  THEORY  AND  THE  NEW 

By  Helena  Rubenstein 


Classified 
Advertising 

Rate  25c  a  word      Forms  Dec    close  Nov.  5 


PLAYS,  MUSICAL  COMEDIES  AND  RE- 
vues,  minstrel  music,  blackface  skits,  vaude- 
ville acts,  monologs,  dialogs,  recitations,  enter- 
tainments musical  readings,  stage  handbook?, 
makeup  goods.  Big  catalog  free.  T.  S.  Denison 
&  Co.,  623  So.  Wabash,  Dept.  82,  Chicago. 


EARN  MONEY,  SPARE  TIME,  ADDRESS- 
ing  circulars.     No  selling.     We  pay  weekly. 
Send    10c    for    mailing    cost.     Rica    Co.,  1658 
Broadway,  Dept.  P-3,  New  York. 


WANTED  —  LADIES     TO  EMBROIDER 
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moments.      Write    at    once — "FASHION  EM- 
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our  instructions.  No  Money  or  Experience 
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IF  YOU  KNOW  ALL  YOUR  POSSIBIL- 
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HANDWRITING  INVOLVES  THE  PER- 
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ess is  involved,  it  is  difficult,  if  not  impossible, 
for  any  person  to  assume  a  style  and  maintain 
it  consistently.  To  obtain  a  general  Graphologi- 
cal  Analysis,  send  a  specimen  of  your  natural 
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THE  WORLD'S  LARGEST  DOG  KENNELS 
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AGENTS— WRITE    FOR    FREE  SAMPLES. 

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and  bonus.  MADISON  MILLS,  564  Broad- 
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jglp^     Quick  and  Easy! 

Wf^^^^p-&'-    Just  what  every  woman  has  been  waiting 
for  at  a  price  everyone  can  afford. 

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I  No  pumps,  vacuums,  extreme  exercising. 

y  .No  foolish  or  dangerous  systems,  but  a 

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I  \     method  that  WILL  be  extremely  pleas- 

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.^^A   Everything  mailed  (sealed)  for  only 
tSV_vP"  Tf;        no.    Iioncii  miss  1  hi--  opportunity 

F?"**^    il    It  may  not  be  repeated. 
BEAUTIBUST  CO.,  911-24  Lexington  Bldg.,  Baltimore,  Md 


BROWSING  the  other  day  among  my 
books — and  I  am  fortunate  enough 
to  have  on  my  shelves  some  of  the 
oldest  and  rarest  on  the  subject  of  wo- 
man's beauty  in  almost  every  European 
language — I  came  across  a  remark  which 
curiously  illustrates,  by  way  of  contrast, 
the  tremendous  progress  that  has  been 
made  in  beauty  culture,  and  makes  ex- 
tremely interesting  a  comparison  between 
the  notions  in  vogue  in  the  old  days  and 
the  scientific  principles  that  have  taken 
their  place  since.  The  particular  remark 
occurs  in  a  book  published  in  London  as 
far  back  as  1694,  with  the  quaint  title, 
"The  Ladies'  Dictionary,  being  a  General 
Entertainment  for  the  Fair  Sex,  a  Work 
never  attempted  before  in  English,"  and 
it  reads  as  follows:  "Freckles  are  found 
to  be  the  Product  of  Fuliginous  Vapours, 
and  like  Smoke,  molest  those  most  who 
are  fair  of  skin."  (Fuliginous,  by  die 
way — an  expression  but  rarely  met  with 
— means  sooty,  dusky.) 

We,  of  a  more  enlightened  era  cannot 
help  but  smile  at  the  theory  that  there 
is  a  sort  of  smoky  vapor  issuing  from 
the  sun  which,  settling  upon  the  face,  im- 
prints freckles.  When  science  succeeded 
in  analyzing  the  sun's  spectrum,  separat- 
ing the  various  rays  of  the  sun,  and  fixing 
their  colors,  she  has  made  possible  the 
discovery  of  the  fact  that  it  is  not  the 
heat  nor  any  smoke  or  soot  or  vapor  gen- 
erated by  the  sun,  but  certain  of  the  rays 
of  well-defined  color  that  have  the  power 
of  etching  out  upon  the  skin  the  irregularly 
shaped  spots  known  as  freckles.  To  these 
same  rays,  called  actinic,  is  due  also  all 
the  sorcery  of  the  photographic  camera. 

Although  photography  would  be  un- 
thinkable without  the  actinic  rays,  yet 
its  reproduction  by  printing  would  be 
impossible  if  actinic  rays  could  not  be 
harnessed,  allowed  to  go  thus  far  only 
and  no  farther,  and  excluded  altogether 
for  the  purpose  of  developing  the  im- 
prisoned image.  And  this  has  been  ac- 
complished by  having  only  such  light  in 
the  developing  room  as  is  free  from  the 
actinic  rays;  hence  the  dark  room  with 
the  ruby  or  orange  lamp. 

The  same  process  cannot,  of  course,  be 
applied  to  protect  the  human  skin  from 
injury  by  the  sun.  But,  one  step  lead- 
ing to  another,  it  has  become  possible 
to  discover  and  adopt  a  substance — 
chemical,  but  entirely  harmless  in  itself — 
which  when  combined  with  a  cream,  lo- 
tion or  even  powder,  and  applied  to  the 
skin  of  the  face,  shoulders,  arms  or  chest, 
neutralizes;  or  perhaps,  deflects,  the  ac- 
tinic rays,  so   that   they  are  rendered 


harmless  in  the  same  manner  as  they  are 
in  the  dark  room,  with  this  tremendously 
important  difference  that  in  photography 
the  action  is  confined  to  the  dark  room 
while  as  a  preventive  of  freckling  the 
chemical  principle  in  question  acts  in  the 
open  air  and  under  the  full  play  of  the 
sun.  One  would  be  very  much  embar- 
rassed, indeed,  if  called  upon  to  name 
as  interesting  a  discovery  to  the  credit 
of  modern  chemistry  as  this  one,  practi- 
cally paralyzing  the  action  of  one  class 
of  the  sun's  rays  while  permitting  the 
full  play  of  the  others  without  seeking 
refuge  in  an  enclosed  or  shaded  space, 
without  the  use  of  screen,  shade  or  para- 
sol. 

The  idea  that  heat  may  have  something 
to  do  with  the  appearance  of  freckles  has 
been  disproved  easily  enough  by  the  fact 
that  explorers  of  polar  regions,  where 
heat  is  of  course  quite  out  of  question, 
and  men  and  women  who  spend  their 
winters  in  the  pursuit  of  seasonal  sports 
in  the  high  altitudes  of  the  Alps,  not  only 
acquire  a  coat  of  deep  tan,  but  freckle 
considerably  and  suffer  from  extremely 
painful  sun-blister.  In  those  regions  the 
sun's  actinic  rays  beat  down  unimpeded 
and  work  havoc  unmercifully. 

It  may  not  be  without  interest  to 
mention  in  this  connection  that  during 
the  great  war  many  of  the  British  soldiers 
had  been  sent  up  to  Swiss  mountain  re- 
sorts for  convalescence  during  the  winter 
and  had  learned  frojn  their  English  nurses 
the  trick  of  protecting  their  faces  from 
severe  sun-burn.  These  nurses  had  been 
supplied  by  me  with  sun-protective 
creams  with  the  result  that  although  they 
were  almost  continuously  exposed  to  the 
blazing  sun,  they  yet  succeeded  in  re- 
maining unaffected  by  it,  to  the  great 
amazement  of  the  Tommies  in  their 
charge. 

One  may  say  almost  without  fear  of 
contradiction  that  it  is  easier — and  it  is 
certainly  more  rational,  to  prevent  freck- 
ling than  to  completely  remove  freckles 
once  they  have  established  themselves. 
Generally  speaking,  all  freckles  can  be 
removed,  but  to  do  so,  the  application  of 
corrosive  substances  is  frequently  neces- 
sary and  the  severity  of  these  applica- 
tions is  rather  distressing  at  times.  And 
the  deeper  the  freckles  are  imbedded,  the 
more  heroic  must  be  the  treatment.  My 
advice,  therefore,  is  that  the  scientific 
preventives  I  have  mentioned  should  i>oe 
made  use  of  rather  than  reliance  be  placed 
on  obtaining  relief  from  sun-b'-rn  or 
freckles  when  they  have  already  tared. 


SCPvEENLAND 


93 


Heard 


in 


Hollywood 

By  Margaret  Keid 


THE  eternal  triangle— without  which 
no  tale  of  love  is  complete— starts 
early  in  wild  Hollywood.     It  already 
threatens  to  break  up  the  touching  ro- 
mance of  James  Kirkwood  and  Leatnce 
Joy— whose  mutual  affection  was  appar- 
ent to  every  scandal-monger  in  town. 
James  Kirkwood  Junior  and  Leatrice  Joy 
Gilbert  the  second— to  give  them  their 
full  titles— made  their  debuts  recently  at 
the  Good  Samaritan  Hospital,  within  a 
few    days    of    each    other.  Jimmy's 
mother— Lila  Lee  Kirkwood,  and  Letty  s 
mother— Mrs.  Jack  Gilbert,  watched  with 
delight  the  young  people's  joy  in  each 
other's  company.    Then  in  stepped  the 
mustachioed  man-about-town.  Marshall 
Neilan— back  from  abroad  with  a  mus- 
tache and  corresponding  European  ways 
—one    dark    evening    evaded  Blanche 
Sweet  Neilan  and  called  up  the  Gilbert 
residence.    "Have  Miss  Gilbert  dressed, 
I'm  coming  around  to  take  her  out," 
he  said  peremptorily  to  Leatrice  Senior, 
"but  not  for  an  hour  yet.    I'll  have  to 
shave  and  dress  and  look  my  handsomest 
if  I'm  to  cut  this  guy— Jim  Kirkwood— 
out."     And  such   is   the  lure   of  the 
Irish— some  time  later  he  was  seen  leav- 
ing the  Gilbert  home  and  stepping  into 
his  car— accompanied  by  a  petite  bru- 
nette, ravishing  in  lace  ruffles,  who  quite 
obviously  beamed  adoringly  on  him. 

It  has  lately  been  observed  along  the 
Boulevard  that  the  tempestuous  Negri 
is  once  more  on  the  verge  of  writing 
finis  to  another  affaire  d'amour.  Pola — 
the  brilliant  and  irresistible — has  for 
some  weeks  been  conferring  the  honour 
of  her  friendship  on  young  Rod  La 
Rocque.  Everywhere  they  were  seen, 
always  together.  Pola  wore  an  enormous 
solitaire  on  the  usual  finger  and  waxed 
positively  demure  when  questioned  as  to 
the  donor.  Rod  was  an  obviously  de- 
voted and  worshipful  slave.  But  it  is 
the  general  opinion  that  Pola  found  him 
an  amusing,  refreshing  playfellow — a  vig- 
orously, adoring  admirer — and  nothing 
more.  It  is  but  natural  that  a  woman 
of  her  brilliant  intellect,  wide  experience 
and  restless  temperament  should  tire,  af- 
ter a  time,  of  the  surface  of  living.  And 
it  would  need  to  be  a  great  man  indeed 
— as  great  as  Charles  Chaplin,  but  with 
a  balancing  strain  of  placidity — to  fill  at 
once  her  heart,  her  mind,  and,  I  suspect, 
her  soul.    So  the  little  affair  is  terminat- 


I  Got  Rid  of  6  Pounds  of  Fat  in  One  Day" 

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ANN  PENNINGTON,  of  the  Ziegfeld  Follies,  says:  T  am  overjoyed  with  my 
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Beauty 
is  skin  deep 

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94 


SCRE.  ENLAND 


1 


assic  Development 
of  the  Bust 

YOUR  WOMANLY  BEAUTY  can  be  developed.  The  secret  of  woman's 
I'Uiirm  is  a  beautiful,  fully  developed  figure — a  bust  like  sculptors  carve  in 
marble  and  artists  portray  on  canvas.  The  very  femininity  of  woman  demands 
that  she  he  thus  perfectly  developed. 

BEAUTY  OP  FORM  is  woman's  natural  birthright.  It  is  just  as  whole- 
some and  right  that  a  woman  should  be  physically  charming  and  attractive, 
as  it  is  for  flowers  to  bloom  in  springtime  and  cast  a  sweet  fragrance  by 
their  presence.  Physical  beauty  can  be  cultivated,  for  the  body — plastic,  like 
clay — will  respond  to  the  application  of  nature's  laws  to  a  degree  little 
dreamed  of  by  the  average  person.  There  is  always  a.  way  to  accomplish 
the  things  that  are  wholesome  and  right,  and  since  It  Is  perfectly  natural 
for  every  woman  to  have  a  full,  rounded  bust,  it  is  easy  to  produce  such 
development  with  the  right  method. 

Motion  Picture  Actress  Delighted 

,  Betty  McCoy,  Movie  Actress,  Los  Angeles,  whose  photo  is  shown 
at  the  left,  says:  "I  am  delighted  with  the  results  from  the  use 
of  The  New  National,  which  has  given  me  a  three-inch  increase  In 
size — a  remarkable  firmness  and  classic  contour.  A  number  of  my 
friends  have  recently  remarked  on  my  improved  appearance." 

Booklet  Tells  "HOW"  FREE! 

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Cavr,  formerly  published  in  the  Physical  Culture  Magazine,  telling 
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time.  Simply  wonderful  the  results  produced.  Let  us  send  you 
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ing — for  Pola,  without  the  agony  of  the 
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sorrow. 

The  fans  who  have  read  various  lady- 
interviewers'  enthusiastic  repots  of  Mr. 
Rex  Ingram — the  greatest  of  the  younger 
directors  (discretion  forbids  me  to  say 
the  greatest  of  all,  although  I  really 
think  so)  and  who  have  been  regaled 
with  artistic  photographs  of  him,  have 
an  opportunity  of  seeing  him  in  motion 
in  his  "The  Arab".  Inconveniently 
enough,  Mr.  Ingram's  "bit"  is  unheralded 
in  the  program,  and  only  a  discerning 
eye  could  recognize  him  in  the  brief 
close-up  he  allows  himself.  However, 
if  you  watch  alertly  during  the  scene 
in  the  cafe  of  the  Arabian  dancing-girls, 
you  can't  miss  the  close-up  of  every  per- 
sonable young  man  in  Arab  costume — 
performing  an  utterly  ridiculous  trick 
with  a  cigarette.  It  may  not  carry  the 
dramatic  essence  of  the  picture — but  to 
young  ladies  with  an  eye  for  manly 
beauty,  and  especially  to  those — like  my- 
self— who  have  seen  the  gentleman  in 
person,  it  will  be  eminently  satisfactory! 


^Announcement 

by  the 

MAE  MURRAY 
COMMITTEE 

To  the  Slogan  Fans: 

At  the  very  last  minute  it  is 
found  impossible  to  decide  the 
winner  of  the  prize  offered  by 
Mae  Murray  for  a  slogan  for 
the  delightful  film  "Circe,  the 
Enchantress/' 

Among  the  thousands  of  an- 
swers received,  there  have  been 
selected  for  special  considera- 
tion a  number  of  excellent  slo- 
gans but  the  prize  winner  of 
this  group  has  not  yet  been  de- 
termined and  the  result  of  the 
contest  must,  therefore,  be  an- 
nounced in  a  later  issue. 

Miss  Murray  has  taken  a 
close  personal  interest  in  this 
award  and  wishes  to  thank  the 
many  contestants  for  their 
kindly  expressions. 

Mae  Murray 
Slogan  Committee. 


SCREENLAND 


95 


Read  the 
DECEMBER 
NUMBER 

of 

SCREENLAND 

A  special  holiday  number 
will  be  made  to  fit  the  Christ- 
mas Season  by.  a  number  of  in- 
timate stories  concerning  stars 
of  the  screen. 

The  purse-strings  of  the 
Mighty 

Do  you  often  wonder  how  a 
person  earning  $3,000.00  a 
week  satisfies  the  craving  that 
is  in  every  heart  to  help  those 
to  whom  fortune  has  been  less 
kind? 

The  players  of  the  motion 
picture  screen  are  a  soft- 
hearted lot,  and  Christmas  is 
a  happy  time  for  them. 

At  this  season  of  the  year, 
the  finished  productions  which 
have  been  in  process  for  the 
last  12  months  are  released  to 
the  public,  and  Miss  Delight 
Evans  has  reviewed  for 
SCREENLAND  all  the  new 
films.  It  will  be  another  year 
before  the  next  big  film  har- 
vest. 

You  will  enjoy  reading  Miss 
Evans'  intelligent  criticisms  of 
this,  the  latest  crop  of  master- 
pieces. 

Martin  B.  Dickstein's  re- 
views of  current  films  will  be 
found  in  the  special  holiday 
number,  and  there  will  be 
stories  by  well  known  writers 
of  screen  literature. 

Read  the 
DECEMBER 

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96 


SCREENLAND 


t 


Popular  Pictures  Are 

Made  from  Popular 


AMERICA 

Ort  THE  SACRjpg|^ 


m 


ROBERT  W  CHAMBERS 


THE  SHOOTING 
OF  DAN  Mc  GREW 


tOUCHE 


JUST  recall  the  ten  best  moving  pictures  you  have  either  seen 
during  the  last  few  months  or  expect  to  see  during  the 
present  season.  Nine  chances  out  of  ten,  you  will  find  that 
a  famous  novel  supplied  the  title,  plot,  action  and  characters  of 
each  one  of  them.  Eight  chances  out  of  nine,  you  will  find  their 
names  listed  on  this  page.  Not  every  good  book  gets  onto  the 
screen,  but  nearly  every  successful  picture  is  produced  from  a 
good  book. 

A  moving  picture,  fascinating  as  it  is,  supplies  a  passing  pleasure. 

The  book  from  which  it  came  is  yours  to  keep  to  give  you  new 

delight  every  time  you  read  it,  to  place  on  your  book  shelf  as  a 
permanent  treasure,  or  to  give  as  a  gift  to  a  friend.  Any  of 
these   books    can    be    obtained    from    SCREENLAND    Book  Dept. 

I  HE   SEA   HAWK  Rafael  Sabatini 

THE  COVERED  WAGON  Emerson  Hough 

MONSIEUR    BEAUCAIRE   Booth  Tarkington 

THE  TEN  COMMANDMENTS  Henry  MacMahon 

SCARAMOUCHE  Rafael  Sabatini 

JANICE   MEREDITH   Paul  Leicester  Ford 

DOROTHY  VERNON  OF  HADDON  HALL  Charles  Major 

AMERICA   Robert    W.  Chambers 

SUNDOWN    Hudson-Eberhardt 

WANDERER  OF  THE  WASTELAND  Zone  Grey 

MANHANDLED   Arthur  Stringer-Russell  Holman 

THE  SHOOTING  OF  DAN  McGREW  James  J.  Tynan 

YOLANDA   .Charles  Major 

THE  WHITE  SISTER  F.  Marion  Crawford 

BEING  RESPECTABLE  '....Grace  H.  Flandrau 

LOVE  INSURANCE  (The  Reckless  Age)..  Earl  Derr  Biggers 

ANOTHER  SCANDAL  Cosmo  Hamilton 

THE  SALAMANDER  (The  Enemy  Sex)  Owen  Johnson 

MERTON  OF  THE  MOVIES    Harry  Leon  Wilson 

THE  MOUNTEBANK  (The  Sideshow  of  Life)  Wm.  J.  Locke 

THE  JUDGMENT  OF  THE  STORM  ...Roy  Mason 

WILD  ORANGES   Joseph  Hergesheimer 

LITTLE  OLD  NEW  YORK  :  Rida  Johnson  Young 

THE  DAWN  OF  A  TOMORROW  Frances  Hodgson  Burnett 

-  A  GIRL  OF  THE  LIMBERLOST    Gene  Stratton-Porter 

THE   PLUNDERER  „  Roy  Norton 

LEATHERSTOCKING    George  A.  Gray 

THE  BREATH  OF  SCANDAL  Edwin  Balmer 

PONJOLA   Cynthia  Stochley 

WEST  OF  THE  WATER  TOWER  Homer  Croy 

IF  WINTER  COMES  ^  A.  S.  M.  Hutchinson 

THE  WAY  OF  A  MAN  Emerson  Hough 

THE  HERITAGE  OF  THE  DESERT  Zone  Grey 

RITA  COVENTRY   (Don't  Call  It  Love)  Julian  Street 

A  LADY  OF  QUALITY  Frances  Hodgson  Burnett 

IN  THE  PALACE  OF  THE  KING  F.  Marion  Crawford 

UNDER  THE  RED  ROBE  Stanley  J.  Weyman 

THE    SPANISH    DANCER  Victor  Hugo 

THE  CHEAT  Turnbull-Holman 

LET  NOT  MAN   PUT  ASUNDER  Basil  King 

THE   VIRGINIAN   i  Owen  Wister 

POTASH   AND   PERLMUTTER  Montague  Glass 

RUGGLES  OF  RED  GAP  Harry  Leon  Wilson 

THE  ETERNAL  CITY   j  Hall  Caine 

THE  CALL  OF  THE  WILD  Jack  London 

CAPE  COD  FOLKS  Sarah  Greene 

THE  HOOSIER  SCHOOLMASTER  Edward  Eggleston 

ALICE  ADAMS   Booth  Tarkington 

THE   CHRISTIAN   Hall  Caine 

THE  COMMON  LAW   Robert   W.  Chambers 

THE  PRISONER  OF  ZENDA  Anthony  Hope 

RUPERT  OF  HENTZAU  Anthony  Hope 

FIGHTING  BLOOD   ••  •«■  £•  W'twer 

THE  TURMOIL   Booth  Tarkington 

THE  LONE  STAR  RANGER  ••  f  ane  Grey 

MAIN  STREET    Sinclair  Lewis 

PENROD   Booth  Tarkington 

PENROD  AND  SAM  Booth  Tarkington 

TO  THE  LAST  MAN  •■■  Zan e  Grey 

WHEN  KNIGHTHOOD  WAS  IN  FLOWER  ..Charles  Major 

THE  RUSTLE  OF  SILK   Cosmo  Hamilton 

MICHAEL  O'HALLORAN   Gene  Stratton-Porter 

THE  FLIRT   ■  •  ',.???'*  LarJ?'"<jtJott 

ROBIN  HOOD   /•  Walker  McSpadden 

THE  RAMBLIN'  KID  Earl  Wayland  Bowman 

ST    ELMO   Augusta  J.  Evans 

THE  CLANSMAN  *...'.'.'•'  •  

THE  LEATHER  PUSHERS  H.  C.  Witwer 

All  books  included  in  this  announcement  are  full  size  standard  cloth  bound  and 
price  $1.00  each  or  six  books  for  $5.00,  includes  insured  delivery  charges  to  any 
address  in  the  United  States,  Mexico  or  Canada.  Address  Order  to  SCREENLAND 
MAGAZINE,  (Book  Dept.),  145  West  57th  Street,  New  York,  N.-Y. 


Book 


^  THE  TEN 

Commandments 

Ymr  ~ 


IF  WINTER 
COMES. 


S  ECHETS 


 23  Pounds  With 

Madame  X  Reducing  Girdle 


In  only  2  months — without  diet,  special  exercises  or  drugs — 
Miss  Kenney  remoulded  her  figure  to  the  straight,  graceful 
lines  you  see  in  the  picture.  Just  by  wearing  the  comfortable 
Madame  X  Reducing  Girdle — which  makes  you  look  inches 
thinner  at  once  and  soon  brings  real'slenderness. 


4<T    HAVE  just  stepped  from  the  scales 

JL   and  was  overjoyed  to  find  that  the 
|hand  pointed  to  142  pounds. 

"Previously  I  found  that  no  matter  how  I 
tried  I  could  not  bring  my  weight  below  165 
pounds.  I  was  hopeless.  I  did  not  bother, 
thinking  it  useless.  Finally,  being  so  un- 
comfortable in  heavy  bone  corsets  I  de- 
cided to  try  the  Madame  X  Girdle  for  com- 
tfort  if  nothing  else. 

"During  June  and  July  I 
wore  it  constantly  as  it  im- 
proved my  appearance 
immensely.  I  noticed  that 
I  was  gradually  getting 
smaller.  My  friends  say  I 
look  years  younger,  having 
lost  23  pounds  with  a  de- 
cided improvement  in 
health. 

"I  am  three  or  four  in- 
ches thinner  in  waist  and 
hips. 

"Everyone  has  noticed  the 
change.   I  shall  continue  to 
wear  my  girdle  as  it  is  so 
extremely  comfortable." 
(signed)  Anne  L.  Kenney, 
50c,  W.  170th  St.,  New  York 
Miss  Kenney^  experience 
is  by  no  means  unique.  Wo- 
men  everywhere  write  us 
enthusiastically  to  tell  us  of 
the     amazing  reductions 
which  this  marvelous  girdle 
has  quickly  brought  about. 
Look    thin  while 
getting  thin 
Best  of  all  you  don't  have 
to  wait  to  LOOK  thin.  As 
soon  as  you  put  on  the  Mad- 
ame X,  which  is  worn  over 
the  undergarment,  in  pace  of  a  corset,  you 
appear  several  inches  thinner  at  the  waist 
and  hips  without  the 
slightest  discomfort. 
And  day  by  day,  as 
you  continue  to  wear 
the  girdle,  it  gently 
kneads  awa3r  the  ex- 
cess fat  and  moulds 
your   figure  to  new 
beauty    and  slender 
grace.    The  massage 


action,  though  powerful,  is  imper- 
ceptible— but  your  scales,  mirror  and 
tape  measure  quickly  tell  the  story ! 
Women  usually  lose  from  one  to 
three  inches  the  very  first  week,  and 
almost  before  you  know  it,  four,  five 
and  sometimes  even  ten  inches  have 
disappeared  for  good  from  waist, 
hips,  thighs,  and  you  look  and  feel 
younger  and  better. 


What  Others  Say 

Reduces  Waist  9  Inches 

"It  gives  me  long  waist  lines, 
something  I  never  expected  as  I 
am  very  short  waisted.  Seduced 
hips  12  inches,  waist  9  inches. 

Mrs.  G.  F.  Raymond 
Saranac  Lake,  N.  Y. 

Five  Inches  Smaller  at  Once 

"The  very  minute  I  put  it  on  I 
measured  five  inches  less  around 
the  waist.  To  date  I  have  lost 
32  pounds  and  my  former  con- 
stant backaches  are  gone." 
Lillian  Greenwood 
North    Uxbridge.  Mass. 

"No  More  Corsets  For  Me!" 

"Have  been  wearing  the  Madame 
X  steadily  for  three  weeks  and 
am  moTe  than  pleased  with.  it. 
Have   taken   5   inches   from  my 
waist  and  i%  from  abdomen  and 
hips.    jNto  more  corsets  for  me! 
Belle  Folsom 
517  Main  Street 
Watsonville,  Cal. 

Loses  21   Pounds  Quickly 

"When  I  started  to  wear  Madame 
X  Reducing  Girdle  in  March  I 
weighed  192  pounds.  I  am  now 
down  to  171,  giving  the  girdle  all 
credit  as  I  gave  up  nothing  that 
I  really  wanted  to  eat." 

Edith  C.  Manning 

246  Thomas  Street 
West  Haven,  Conn. 


Physicians 
endorse  it 

The  Madame  X 
Reducing  Girdle  is 
based  on  scientific 
principles  of  reduc- 
tion by  rubber  mas- 
sage,   which  have 
long  been  advocat- 
ed  by   health  au- 
thorities  and  pro- 
fessional athletes 
because  of  the  ease, 
quickness  and  safe- 
ty      which  this 
method  takes  away 
5,  io,  20  pounds — 
or  more.    The  rubber  is 
scientifically  cured  by  the 
dry  heat  method,  so  it  will 
be    specially   strong  and 
resilient. 

You  can  exercise — 
work,  play,  sit — in  per- 
fect comfort,  for  it  is  so 
soft  and  flexible,  it  allows 
the  utmost  freedom  of 
motion. 


New  Madame  X  Brassiere 

The  new  Madame  X  Brassiere  does  for 
the  upper  figure  just  what  the  girdle  does 
for  waist,  hips  and  thighs.  Made  of  live, 
flesh-tinted  brocaded  rubber  of  the  same 
high  quality.  Carefully  moulds  the  figure 
without  binding  or  bulging  and  gently  mas- 
sages away  the  fat. 

See  the  Madame  X  for  yourself.    Get  a 
fitting  today  at  any  good  store  where  corsets 
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CH  R  I  ST MA  S 


The  Most  Daring  Book, 


Ever  Written! 

Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  book  that  should  be  read  by  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
— it  is  a  penetrating  searchlight  fearlessly  turned  on  the  most 
intimate  relations  of  men  and  women.  Read  below  how  you  can 
get  this  daring  book  at  our  risk  —  without  advancing  a  penny. 


ELINOR  GLYN 
"The  Oracle  of  Love" 


\K  7  ILL  you  marry  the  man 
*  "  you  love,  or  will  you  take 
the  one  you  can  get? 

If  a  husband  stops  loving  his 
wife,  or  becomes  infatuated  with 
another  woman,  who  is  to  blame 
— the  husband,  the  wife,  or  the 
"other  woman?" 

Will  you  win  the  girl  you  want, 
or  will  Fate  select  your  Mate? 

Should  a  bride  tell  her  husband 
what  happened  at  seventeen? 

Will  you  be  able  to  hold  the 
love  of  the  one  you  cherish — or 
will  your  marriage  end  in  divorce? 

Do  you  know  how  to  make  people  like  you? 

IF  you  can  answer  the  above  questions — 
if  you  know  all  there  is  to  know  about 
winning  a  woman's  heart  or  holding  a 
man's  affections — you  don't  need  "The 
Philosophy  of  Love."  But  if  you  are  in 
doubt — if  you  don't  know  just  how  to 
handle  your  husband,  or  satisfy  your  wife, 
or  win  the  devotion  of  the  one  you  care 
for — then  you  must  get  this  wonderful 
book.  You  can't  afford  to  take  chances 
with  your  happiness. 

What  Do  YOU  Know 
About  Love  J 

DO  you  know  how  to  win  the  one  you 
love?  Do  you  know  why  husbands, 
with  devoted,  virtuous  wives,  often  be- 
come secret  slaves  to  creatures  of  another 
"world" — and  how  to  prevent  it?  Why  do 
some  men  antagonize  women,  finding  them- 
selves beating  against  a  stone  wall  in  affairs 
of  love?  When  is  it  dangerous  to  disregard 
convention?  Do  you  know  how  to  curb  a 
headstrong  man,  or  are  you  the  victim  of 
men's  whims? 


What  Every  Man  and 
Woman  Should  Know 


— how  to  win  the  man 

you  love. 
— how  to  win  the  girl  you 

want. 

— how  to  hold  your  hus- 
band's love. 

— how  to  make  people 
admire  you. 

— why  "petting  parties" 
destroy  the  capacity 
for  true  love. 

- — why  many  marriages 
end  in  despair. 

— how  to  hold  a  woman's 
affection. 

— how  to  keep  a  husband 
home  nights. 

— things  that  turn  men 
against  you. 

— how  to  make  marriage 
a  perpetual  honey- 
moon. 

— the  "danger  year"  of 
married  life. 


— how  to  ignite  love — 
how  to  keep  it  flaming 
— how  to  rekindle  it 
If  burnt  out. 

— how  to  cope  with  the 
"hunting  instinct"  in 
men. 

— how  to  attract  people 
you  like. 

— why  some  men  and 
women  are  always  lov- 
able, regardless  of  age. 

— are  there  any  real 
grounds  for  divorce? 

— how  to  increase  your 
desirability  in  a  man's 
eye. 

— how  to  tell  if  someone 

really  loves  you. 
— things   that   make  a 

woman    "cheap"  or 

"common. " 


Do  you  know  how  to  re- 
tain a  man's  affection  always? 
How  to  attract  men?  Do  you 
know  the  things  that  most  irri- 
tate a  man?  Or  disgust  a  woman? 
Can  you  tell  when  a  man  really 
loves  you — or  must  you  take 
his  word  for  it?  Do  you  know 
what  you  MUST  NOT  DO  un- 
less you  want  to  be  a  "wall 
flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that 
make  women  like  you?  Why  do 
"wonderful  lovers"  often  be- 
come thoughtless  husbands  soon 
after  marriage — and  how  can 
the  wife  prevent  it?  Do  you  know  how  to 
make  marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places  a 
magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.  No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty, 
deep  sincerity,  and  resolute  courage.  But 
while  Madame  Glyn  calls  a  spade  a  spade 
— while  she  deals  with  strong  emotions 
and  passions  in  her  frank,  fearless  man- 
ner— she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book 
can  safely  be  read  by  any  man  or  woman. 
In  fact,  anyone  over  eighteen  should  be 
compelled  to  read  "The  Philosophy  of 
Love";  for,  while  ignorance  may  some- 
times be  bliss,  it  is  folly  of  the  most  danger- 
ous sort  to  be  ignorant  of  the  problems  of 
love  and  marriage.  As  one  mother  wrote  us: 
"I  wish  I  had  read  this  book  when  I  was  a 
young  girl — it  would  have  saved  me  a  lot 
of  misery  and  suffering." 

Certain  shallow-minded  persons  may 
condemn  "The  Philosophy  of  Love."  Any- 
thing of  such  an  unusual  character  generally 
is.  But  Madame  Glyn  is  content  to  rest  her 
world  wide  reputation  on  this  book — the 
greatest  masterpiece  of  love  ever  attempted! 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Philosophy  of  Love."  Simply 
fill  out  the  coupon  below — or  write  a  letter 
— and  the  book  will  be  sent  to  you  on  ap- 
proval. When  the  postman  delivers  the 
book  to  your  door — when  it  is  actually  in 
your  hands — pay  him  only  $1.98,  plus  a 
few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content — read 
it  from  cover  to  cover — and  if  you  are  not 
more  than  pleased,  simply  send  the  book 


Qlie  PHILOSOPHY 
OF  LOVE 

hy  EUNOR  GLYN 

^Jbdlurtf'TkruWedis 


WARNINQJ 

The  publishers  do  not  care  to  send  "The  Phi- 
losophy of  Love"  to  anyone  under  eighteen 
yeara  of  age.  So,  unless  you  are  over  eighteen, 
please  do  not  fill  out  the  coupon  below. 


back  in  good  condition  fcf  :"1  five  days 
and  vour  money  will  be  ref  .nstantly. 

Over  75,000,000  people.  -ad  Elinor 
Glyn's  stories  or  have  seen  them  in  the 
movies.  Her  books  sell  like  magic.  "The 
Philosophy  of  Love"  is  the  supreme  culmi- 
nation of  her  brilliant  career.  It  is  destined 
to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  ex- 
ceedingly difficult  to  keep  the  book  in  print. 
It  is  possible  that  the  present  edition  may 
be  exhausted,  and  you  may  be  compelled 
to  wait  for  your  copy,  unless  you  mail  the 
coupon  below  AT  ONCE.  We  do  not  say 
this  to  hurry  you— it  is  the  truth. 

Get  your  pencil — fill  out  the  coupon 
NOW.  Mail  it  to  The  Authors'  Press, 
Auburn,  N.  Y.,  before  it  is  too  late.  Then 
be  prepared  to  read  the  most  daring  book 
ever  written ! 


The  Authors'  Press,  Dept.  304,  Auburn.  N.  Y. 

Please  send  me  on  approval  Elinor  Glyn's  master- 
piece, "The  Philosophy  of  Love."  When  the  post- 
man delivers  the  book  to  my  door.  I  will  pay  mm 
only  Si -98.  plus  a  few  pennies  postage.  It  is  under- 
stood, however,  that  this  is  not  to  be  considered  a 
purchase.  If  the  book  does  not  in  every  way  come 
up  to  expectations.  I  reserve  the  right  to  return  it 
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you  agree  to  refund  my  money. 


1 


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SCREENLAND 


How  I  Earn  $90  a  Week 
With  a  Pencil ! 

By  Raymond  Brennan 


"O 


ne  hour  more  and  I  get  my 
weekly  pay  check.  Another 
$90.  Another  payment  made 
possible  on  my  new  home.  Another  tidy 
sum  added  to  my  savings  account.  Hon- 
estly it  seems  like  a  wonderful  dream. 
Only  a  short  time  ago  I  was  a  $22-a-week 
stock  clerk,  and  now— but  let  me 
tell  you  how  it  started. 

For  two  years  I  was  buried  behind 
a  mountain  of  boxes — checking,  list- 
ing and  adding  till  I  was  blue  in  .  the 
ace.  The  job  paid  fairly  well  and 
it  was  steady  work — but  the  raises 
in  .salary  were  rare  indeed.  And 
with  a  wife  and  child  "to  support  the' 
future  didn't  look  very  promising. 

But  good  -'->bs  are  hard  to  get — 
especial!,  "  you  have  no  special 
training.  '  .  <±?  stuck  to  the  one  I 
had  and  would  have  remained  there 
yet',  if  it  hadn't  been  for  my  boss.  We 
had  a  confidential  heart-to-heart  talk  one 
day  and  one  thing  he  mentioned  struck 
right  home— it  was  the  turning  point  of 
my  life. 

"Ray,"  he  said,  "the  only  way  you 
can  climb  out  of  a  routine  job — the  only 
way  you  can  earn  real,_  big  money — the 
only  way  you  can  ever  be  independent — 
is  by  getting  into  an  uncrowded  field 
where ;  competition  doesn't  kill.  The  rea- 
son you  haven't  advanced — the  reason 
your  pay  is  low,  is  that  there  are  thou- 
sands of  other  men  ready  to  fill  your 
place  should  you  quit.  Choose  the  work 
you  like,  learn  to  master  it — that's'  the 
secret  of  success." 

I  never  thought  of  it  before  in  that 
light.  Choose  the  work  I  like?  Yes, 
but  what  do  I  like? 

I  found  the  answer  that  night.  My 
little  son  coaxed  me  to  tell  him  a  story. 
So  I  took  him  on  my  knee  and  started. 
In  a  little  while  we  were  out  in  the 
woods  with  the  bears  and  tigers — and 
across  the  sea  to  the  French  clowns. 
And  unconsciously,  to  make  my  story 
more  realistic,  I  made  rough  little  draw- 
ings. Really  it  was  fun.  I  enjoyed  it. 
And  then  it  dawned  upon  me — why  not 
become  an  artist?  They  earned  big 
money.  Perhaps  I,  too,  could  learn. 
The  /est  is  easy.    That  very  evening 


I  mailed  a  coupon  to  the  Washington 
School  of  Art.  And  now — well  I  seem 
to  live  in  a,  dream.  No  more  long 
hours — no  more  strenuous  work — no 
more  heart  breaking  fear  of  getting  fired. 
And  best  of  all  I  earn  $90  a  week— and 
I've  only  just  begun  to  climb! 

Fit  Yourself  Now  for  a  $5,000- 
$10,000  Job  in  Com- 
mercial Art 

The  story  of  Raymond  Brennan  is  the 
story  of  thousands  of  other  men  who 
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all  are  eager  to  pay  good  salaries  to  men 
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^Ae  G rudd^iondont  Screen  cn\agazinc 

DECEMBER,  1924  VOL.  X,  NO.  3 

ej&>F=   ,   ,  


Eliot  Keen,  Editor 


3®^ 


CONTENTS  for  DECEMBER 

Cover — Edna  Murphy.   Allisoncolor  by  Nickolas  Muray. 
Ask  Me — An  Answer  Page  of  Information.    By  Miss  Vee  Dee 
Behind  the  Screen  .       .       .  . 

What  Happened  in  the  Movies  Ten  Years  Ago.    Resurrected  by 
Dexter  ........ 

A  Garland  of  Christmas  Greetings 
Ann  Pennington  ....... 

Wanda  Hawley         .       .       .       .  '  . 

Maud  Hill        .       .       .       .       .  . 

Flora  Lee— Reproduced  by  Roto-Color 
Marilyn  Miller — Reproduced  by  Roto-Color 
Jacqueline  Logan — Reproduced  by  Roto-Color 
Frances  Howard — Announcement  .... 

Christmas  Close-ups.    By  the  Editor 
A  Christmas  Acrostic.    By  Morrie  Ryskind 
Holly  Time  in  Hollywood        .       .       ...  . 

May  McAvoy— Reproduced  by  Roto-Color     .        .  . 
On  Location  with  the  Movie  Folks.   By  Guy  McLaughlin 
Betty  Bronson's  Peter  Pan.    By  H  B.  K.  Willis 
What  All  the  Shootin's  Fer     .  . 
Joan  Lowell— Sailor  Girl.    By  Edward  J.  Doherty 
Yes,  We  Have  No  Sex  Appeal.    By  Delight  Evans  .. 
Do  American  Girls  Have  the  Prettiest  Legs? 
An  Open  Letter  to  Gloria  Swanson.    By  Myron  Zobel 
When  Mary  Was  a  Little  Girl.    By  Henry  J.  Thomas 
New  Screenplays.    By  Delight  Evans 
Reviews  in  Brief.    By  Martin  B.  Dicksteiri 
Pre-Showing  of  Feature  Films 
Dramaland.   By  Myron  Zobel     .  . 
Carmelita  Geraghty— Reproduced  by  Roto-Color 
Viola  Dana — Reproduced  by  Roto-Color 
Agnes  Ayres— Reproduced  by  Roto-Color 
Apple  Sauce.    By  Robert  Cyril  O'Brien 
Gossip  from  Screenland.    By  H.  B.  K.  Willis 
Fashions — Posed  especially  for  Screenland  by  Bessie  Love.    By  Vohdah 
AnNExtra  with  Sidney  Olcott.    By  Abraham  Goldener 
They  Say.    By  Marion  of  Hollywood 
This  Year  He  Has  the  Money  .... 

Heard  in  Hollywood.   By  Grace  Kingsley 
Believe  it  or  Not  . 


Gavne 


exter 


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I 

Edna  Murphy 

The  girl  on  the 
cover  this  month  is 
Edna  Murphy,  photo- 
graphed in  colors  by 
the  Allisoncolor  Pro- 
cess by  Nickolas 
Muray. 

When  Police  Com- 
missioner E  n  r  i  gh  t 
sought  a  darling  for 
all  the  cops  in  New 
York,  the  colleen  se- 
lected was  Edna 
Murphy;  and  "Into 
the  Net,"  for  much  the 
same  reason,  has  been 
very  successful. 

In  her  sprightly 
little  person  and  with 
her  smile  that  is  a  bit 
of  blarney,  Edna  dem- 
onstrates why  every- 
body loves  the  Irish. 


Published  monthly  by  Magazine  Builders  Inc.,  at  145  West  57th  Street,  New  York,  N.  Y.,  U.  S.  A. 


J.  Thomas  Wood,  Pres.  Copyright  1924.  Trade  Mark  regis' 
tered.  Single  copies  25c.;  subscription  price,  United  States 
and  Canada,  $2.50  a  year;  foreign,  $3.50.  Entered  lis  second- 
class  matter,  November  30,  1923.  at  the  Post  Office  at  New  York, 
N.  Y.,  under  the  Act  of  March  3,  1879.  Addit.onal  entry  at 
Long  Island  City,  N.  \ .  Permission  to  reprint  materia]  must 
be  secured  from  the  publishers.     General  Executive  .aid  Editorial 

Printed  in  United  States  of  America.    Produced  by 


Offices  at  145  West  57th  Street,  New  York,  NT.  Y  Western 
advertising  offices  at  30  North  Dearborn  St.,  Chicago  Ih  •  1004 
Coca  Cola  Bldg.,  Kansas  City.  Mo.  Publishers  also  of  Pea!  Life 
Stories.  Subscription  price  United  States  and  Canada  S2  «0  - 
year.  Single  copy  25  cents  each.  Club  rate  for  the  two  maga°- 
zmes,  $4.00  a  year;  foreign,  $6.00. 

tpto'Coloi 


Giles  Printing  Co.,  New  York,  N-.  Y. 


t 


The 

January 

SCREENLAND 


fallows  the  policy  which 
|has  lately  been  identified 
pvfith  this  magazine.  We 
'take  pleasure  in  quoting 
(from  letters  received: 

"Your  Extra  Girl  Num- 
ber gave  me  a  definite  in- 
i  spiration,  and  I  thank  you 
for  it. 

"I  think  the  reason  a  large 
j  number  of  us  attend  the 
movies  is  that  it  gives  us  re- 
\  laxation  and  at  the  same 
time  stimulation.  SCREEN- 
LAND  reflects  this  stimur 
lating  flavor." 


It  is   the   spirit  of  the 
movies  that  you  will  find  re- 
flected in  SCREENLAND. 
The  names  of  the  players 
and    the    facts  concerning 
them,  the  names  of  the  films 
and  the  directors  and  so  on, 
all  are  properly  set  forth  in 
attractive  form;  and  through 
the  whole  magazine,  from 
cover   to   cover,    on  even- 
page,  there  is  the  spirit  of 
the  films :  to  entertain,  to  in- 
struct, to  uplift,  to  inspire, 
to  extend  friendliness. 


This  is  the  spirit  of 

SCREENLAND 
J 


a 


t_A  TRE-JUR  Compact  scarcely  thicker 
than  a  gold-piece  and  as  precious 

The  convexity  of  the  beautiful  metal  case 
fits  the  palm— And  in  the  large  mirror  the 
swiftest  glance  shows  every  facial  detail. 

The  touch  of  Tre-Jur  powder  is  as  soft  as  a 
lover's  caress — perfumed' with  the  new  Joli- 
Memoire,  a  scent  that  savours  of  happiness. 

"THINEST"  will  vastly  surprise  you.  It  looks 
so  expensive  and  costs  so  little — to  be  exact, 
One  Dollar!  Ask  at  your  favorite  store  for 
your  own  shade  of  powder  and  rouge....Or 
order  by  mail  from  us. 
THE  HOUSE  OF  TRE-' 

19  WEST  18TH  STREET,  NEW 


THE"TRIPLE" 

Combines  powder, 
rouge  and  lipstick 
in  a  delightful 
case— with  the 
famous  sliding 
drawer 

$1.25 


SCREENLAND 


■ 


Big  Money 


First-Class  Saxophonists  make  big 
money,  and  the  work  is  easy  and  pleas- 
ant. You  might  easily  become  a 
wizard  like  Tom  Brown  or  Ross  Gor- 
man, or  a  great  record-maker  like 
Clyde  Doerr  or  Bennie  Krueger  or 
Joseph  C.  Smith.  $100  to  $500  weekly 
is  not  unusual  for  musicians  of  such 
ability  to  earn. 

Talk  about  Fun!  There  is  always  a 
good  time  for  the  Saxophone  player. 
It's  the  ideal  instrument  for  social 
entertainment.  It  is  a  key  to  social 
popularity.  At  parties,  everywhere, 
the  Saxophone  player  is  the  center  of 
attraction. 

Easy  to  Play  -  Easy  to  Pay 

The  Saxophone  is  the  easiest  of  all  in- 
struments to  play.  You  don't  have  to 
"study'1''  the  Saxophone  as  you  do 
other  instruments.  There's  no  prac- 
tice drudgery.  You  don't  have  to  be 
"talented". 

THREE  LESSONS  SENT  FREE  with  the  instru- 
ment start  you.  In  a  week  you  can  play  popu- 
lar airs. 

Besides  being  so  easy  to  play  -  we  make  it  very 
easy  to  pay  for  one  of  these  Buescher  Saxophones 
with  our  simple  plan  of  deferred  payments. 
Play  and  earn  while  you  pay. 


SAXOPHONE  BOOK 

Tells  all  about  the 
-xophones,  with  pictures 
'ionals  and  orchestras, 
ipy.     Mention  any 
hich  you  may  be 

155 

CENT  CO. 

'rtzmcnts 

rt,  Ind. 


<^4sk  JvLel 

An  Answer  Vage  of  Information 

Address:  Miss  Vee  Dee,  Greenland,  145  West  57  th  Street,  N.  Y.C. 


Mirabelle  {Niagara  Falls).  Good  gra- 
cious, Mirabelle,  I  thought  everybody 
knew  who  Will  H.  Hays  is.  No,  he  isn't 
an  actor — what  sacrilege!  He's  the  czar, 
umpire,  referee — in.  fact  high-grand 
mogul — of  the  movies,  and  has  the  un- 
enviable job  of  settling  disputes,  look- 
ing into  the  why  and  wherefore  of  things 
and  straightening  out  tangles  generally. 
That's  Will  H.  Hays. 

Democrat.  Alice  Terry  and  Rex  Ingram 
are  still  very  much  married.  Mr.  In- 
gram had  a  nervous  breakdown,  and  came 
east  while  Miss  Terry  stayed  on  the  coast 
to  finish  up  her  picture  contracts.  Rex 
is  to  direct  Ibanez'  "Mare  Nostrum" 
and  in  all  probability  Alice  of  the  blond 
wig  will  play  the  lead.  Antonio  Moreno 
will  be  the  hero.  The  company  has  gone 
to  Spain  to  make  this  picture. 

Amy  Teller  (Denver).  Constance 
Talmadge  has  changed  her  whirlwindish 
ways  and  quite  settled  down  since  be- 
coming friendly  with  Buster  Collier,  but 
now  rumor,  the  lying  jade,  again  on  the 
warpath,  hath  it  that  Buster  and  Con- 
stance have  had  a  spat,  so  maybe  Con- 
stance is  as  of  yore.  Buster  had  in- 
tended playing  Norma's  son  in  'The 
Lady,"  but  George  Hackathorne  has 
been  given  the  role. 

Rhoda  Jarvis.  Lowell  Sherman  was 
indeed  thrilling  in  "Monsieur  Beaucaire." 
He  is  at  present  acting  in  "High  Stakes" 
on  the  New  York  stage,  and  the  critics 
are  enthusiastic  over  his  performance. 

Lady  Lou.  I  believe  you're  the  only 
one  who  doesn't  know  that  a  little  seven- 
teen-year-old dancer  named  Betty  Bron- 
son  has  the  coveted  role  of  Peter  Pan. 
May  McAvoy  was  offered'  the  part  of 
Wendy,  but  she  said,  "Peter  or  nothing." 
Virginia  Brown  Faire  is  to  play  Tinkle 
Bell. 

William  Gardiner.  The  Follies  girls 
seem  to  be  sticking  closer  to  the  Follies 
this  season.  Perhaps  the  movies  aren't 
quite  so  fashionable  a  pastime  with  the 
beauties.  The  latest  recruit  from  the 
Follies  to  the  screen  is  Jane  Winton. 

W '  ell-injormed.  Lou  Tellegen  made  at 
least  two  pictures  in  Europe  before  com- 
ing to  America.  These  were  "Queen 
Elizabeth"  and  "Camille,"  both  with  the 
late  Sarah  Bernhardt.  He  is  of  French- 
Dutch  extraction. 

Eddie  M.  (Ogden).  Don't  believe 
any  one  who  tells  you  that  Nita  Naldi 
is  up-stage  and  stand-offish.  Nita  is  a 
democratic  star,  the  most  natural  being 
alive,  and  a  spade  is  '  most  decidedly'  a 
spade  with  Miss  "Naldi.    'She  was  orig- 


inally on  the  stage.  Yes,  she  will  appear 
again  with  Valentino  in  his  next  picture. 

Robert  Allen.  Wilmington.  Delaware, 
was  Estelle  Taylor's  home  town.  She 
came  to  New  York  and  went  into  the 
Sargent  Dramatic  School,  and  her  first 
work  on  the  stage  was  in  a  vaudeville 
team  with  Lilyan  Tashman  in  a  sketch 
by  George  Hobart,  called  "Come  on. 
Charlie."  This  was  also  Lilyan  Tash- 
man's  first  speaking  part. 

Belgravia.  Dorothy  Mackaill  hails  ! 
from  Hull,  England.  Came  to  New . 
York  and  joined  the  Ziegfeld  Follies. 
Didn't  make  headway  as  quickly  as  she 
thought  she  should,  and  left  Ziggy  cold. 
James  Rennie  played  opposite  her  in 
"Mighty  Lak'  a  Rose." 

Leticia  May.  The  Kathlyn  Williams 
you  saw  in  "Wanderer  of  the  Waste- 
land" is  the  self -same  Kathlyn  who  gave 
you  chills  down  your  spine  years  ago, 
when  she  did  the  famous  "Adventures 
of  Kathlyn"  series. 

Mary-Cecil.  Sydney,  Australia,  was 
Sylvia  Breamer's  birthplace.  Married  to 
an  Australian,  divorcing  him  about  four 
years  ago,  she  contemplates  marriage 
again,  it  is  stated,  and  to  a  California 
doctor  this  time.  Five  feet  seven,  weighs 
135,  dark  brown  hair  and  eyes.  Anne 
Luther  is  five  feet  five,  has  titian  hair, 
blue  eyes  and  was  born  in  Newark,  N.  J. 
She  is  still  Mrs.  Ed.  Gallagher. 

Carolina  Jane.  Lubitsch  was  Pola 
Negri's  director  in  her  best  pictures  made 
in  Europe.  They  team  together  in  a 
forthcoming  production  which  will  be 
looked  forward  to  with  interest.  Have 
you  noticed  that  Pola  hasn't  been  re- 
ported engaged  to  any  one  lately?  Per- 
haps this  will  remind  her. 

Marion  Partos.  There  are  three  Dav- 
ies  girls,  all  in  the  movies — Marion  is 
the  Cosmopolitan  star,  Renee  is  a  free- 
lance and  Rosemary  recently  signed  up 
with  an  eastern  production  company. 

Basil  Neville  (Kent).  You  are  right 
about  Percy  Marmont;  he  is  an  English- 
man, educated  at  Redhill,  Surrey,  and 
commencing  stage  career  with  Sir  Her- 
bert Tree  and  George  Alexander.  If  my 
memory  serves  ohkayly,  he  made  his 
screen  debut  in  Australia  in  a  movie 
called  "The  Monk  and  the  Woman."'" 
Height  6  feet,  blond  hair,  and  blue-gray 
eyes.  Latest  picture.  "Broken  Laws.'' 
with  Mrs.  Wallace  Reid. 

Coppertop    (Detroit).     "Beauty  and 
brains"  describes  Alma  Reubens  splen- 
didly.   She's  decidedly  witty,  a  beaut 
of  the  dark-eyed  southern  type,  and  qv 


SCREENLAND 


S 


appily  married,  all  reports  to  the  con-j 
rary,  to  Dr.  Daniel  Carson  Goodman, 
ne  of  the  bigwigs  up  at  the  Cosmopoli- 
an  Studios.  Alma's  next  starring  en- 
agement  will  be  in  a  Universal  film  by 
parence  Buddington  Kelland. 
I  Roger  F.  Walker.  Doris  Kenyon  is 
-ack  of  many  trades.  She  is  a  poetess, 
Lagazine  writer,  stage  star  and  last,  but 
j)y  no  means  least,  popular  screen  lady. 
A  book  of  her  poems  is  now  on  the  mar- 
ket. You  must  write  to  her  on  the  coast, 
j:are  of  First  National,  619  Pacific 
Finance  Bldg.,  Los  Angeles,  Calif. 
I  Jimmy  Dale.  It's  about  three  years 
^ince  I  met  Rod  La  Rocque,  long  be- 
fore he  even  neared  the  pinnacle  of  his 
present  success.  He  had  just  finished 
k  picture  called  "The  Challenge"  with 
Wra  Michelena.  At  that  time  Rod  was 
far  from  being  the  fashion-plate  he  is 
Snow.  He  was  a  modest  sort  of  chap, 
most  unassuming,  awfully  handsome,  and 
Iks  keen  as  mustard  on  amateur  photog- 
raphy. 

Debutante  (Maine).  Colleen  Moore 
Lets  around  $1,200  per  week.  She  dab- 
bles in  real  estate  and  has  just  shooed 

Ihe  interior  decorators  out  of  her  new 
home.  According  to  Miss  Moore  the 
!  spalpeens  fixed  it  up  for  a  raving  beauty 
=  of  5  feet  8  or  so,  instead  of  for  a  diminu- 
jtive  colleen  of  five  feet  nuthin'.  When 
i'she  sits  down  to  dine  in  a  high-backed 
,  Louis-something-or-other  chair,  she  is 
J|  more  or  less  overwhelmed  in  its  impres- 

siveness. 

Marguerite  Evans.  Tallulah  Bank- 
head  hasn't  been  in  pictures  for  years. 
She  is  playing  in  "The  Dancers"  in  Lon- 
don, where  she  is  a  great  favorite.  Lila 
Lee  looks  much  taller  in  everyday  life 
than  she  does  on  the  screen.  She  wears 
absolutely  no  makeup  off  and  against 
her  face  brown  eyes  gleam  remarkably 
big  by  contrast. 

Serial-fan  (Dayton).  The  effervescent 
Pearl  White  has  been  in  Paris  for  two 
or  three  years,  with  just  rush  trips  to 
this  side.  She  recently  made  a  picture 
in  the  French  capital.  Her  latest  ex- 
ploit was  to  acquire  a  coat  of  sunburn 
by  henna  baths.  Unfortunately  for 
Pearl  the  henna  solution  was  too  strong 
and  instead  of  a  daintily-tanned  maiden, 
she  came  forth  the  color  of  a  Red  Indian. 

Ernest  Vaildon.  At  the  moment  of 
writing  Jackie  Coogan  is  an  only  child. 
Little  Priscilla  Moran  was  a  girleen 
adopted  by  Mr.  and  Mrs.  Coogan  to 
keep  Jackie  company.  While  Jackie  was 
in  Paris  a  tragedy  was  averted  by  a  hair. 
Ring  Lardner,  the  humorist,  decided 
Jackie  would  look  better  with  a  boyish 
bob  instead  of  a  Dutch  crop.  He  hied 
young  Coogan  to  a  barber  but  Mrs.  Coo- 
gan, quite  irate,  appeared  on  the  scene 
barely  in  time  to  save  her  son's  locks. 
Mr.  Lardner  still  lives! 


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BE  AN  AD-WRITER 

Young  Lady,  Young  Man,  you  know  some  one 
thing  well.  No  matter  what  it  may  be,  that 
knowledge  can  he  made  the  foundation  of  your 
career  in  the  Advertising  Field.  What  is  your 
favorite  "line" — Music,  Sports,  Books,  Animals. 
Farming,  the  Arts  and  Sciences,  Automobiles,  or 
any  kind  of  Merchandise  or  Service?  Whatever 
it  is  you  KNOW  WELL,  you  can  learn  how  to 
write  advertisements  about  it  at  home  by  our 
method.  Ad-writers  earn  huge  salaries,  or  work 
at  home  for  various  firms,  with  pay  in  advance. 
Write  for  free  advice  to  Dept.  175,  ADVERTIS- 
ING INSTITUTE.  Prairie  and  Mofljt  .  Aves.. 
St.  Louis.  Mb. 


SCREENLAND 


We  paid  $1000 
for  this  photoplay 

A/TRS.  ETHEL  STYLES  MIDDLETON,  a 
J.VJL  Pittsburgh  housewife,  had  never  had  a 
single  story  accepted  for  publication  when  she 
began  to  write  "Judgment  of  the  Storm." 

She  wrote  this  photoplay  at  home  in  spare 
time  under  the  direction  of  the  Palmer  Institute 
of  Authorship  and  we  found  it  of  such  outstand- 
ing merit  that  we  produced  it  through  our  affili- 
ated producing  organization,  the  Palmer  Photo- 
play Corporation. 

Mrs.  Middleton  received  $1000  cash  and  will 
share  in  the  profits  of  the  picture  for  five  years. 
Her  story  has  also  been  published  as  a  novel  by 
Doubleday,  Page  &  Co. 

Have  you  the  urge  to  write? 
If  you   have  a  creative   imagination   and  the 
natural  ability  to  write,  there  is  no  reason  why 
you  cannot  learn  the  established   technique  of 
Writing  and  sell  your  stories. 

The  best  proof  that  this  can  be  done  is  that 
spores  of  men  and  women  like  yourself  are  ac- 
tually doing  it.  They  did  not  dream  that  they 
could  break  into  the  ranks  of  the  professional 
writers" until  the  Palmer  Institute  of  Authorship 
showed  them  the  secrets  of  story  building. 

Unknown  writer  wins  $10,000  prize 

Miss  Winifred  Kimball,  a  Palmer  student  living 
in  Apalachicola,  Florida,  won  the  $10,000  prize 
in  the.  scenario,  contest  conducted  by  the  Chicago 
Dally  News  in  collaboration  with  the  Goldwyn 
Pictures  Corporation.  Mrs.  Anna  Blake  Mez- 
quida,  another  Palmer  student,  won  the  second 
prize  of  $1000  in  the  same  contest,  and  seven 
$500  prizes  were  also  won  by  Palmer  students. 

W ell-known  writers  help  you 
The  success  of  Palmer  students  is  due  simply  and 
solely  to  the  fact  that  you  study  right  at  home  in 
spare  time  under  the  personal  direction  of  men  and 
women  who  are  themselves  well-known  authors,  dram- 
atists and  motion  picture  writers. 

You  learn  to  write  by  writing.  You  are  given  the 
manuscript  and  continuity  of  famous  motion  picture 
scenarios  to  analyze  and  study.  You  write  actual 
stories  and  photoplays  which  we  help  you  to  sell 
through  our  Story  Sales  Department  in  Hollywood, 
with  representatives  in  New  York  and  Chicago. 

THIS  106-PAGE  BOOK  FREE 
"The  New  Road  to  Authorship" 

If  tells  all  about  the  Palmer  Institute's  systematic, 
step-by-step  method  of  teach- 
ing Short  Story  Writing, 
Photoplay  Writing  and  Dramatic 
Criticism — gives  full  details  of 
the  success  of  Palmer  students 
and  describes  the  Palmer 
Scholarship  Foundation,  which 
gives  ambitious  men  and  women 
the  opportunity  to  get  the  com- 
plete course  free  by  providing 
fifty  scholarships  annually.  Just 
mail  the  coupon  and  we'll  send 
you  this  106-page  book  free 
ty  return  mail. 


PALMER  INSTITUTE  OF  AUTHORSHIP 

Affiliated  with  Palmer  Photoplay  Corporation 
Dept.  22-M,  Palmer  B!dg.     '         Hollywood,  Calif. 

Please  send  me,  without  cost  or  obligation,  a  copy 
of  your  106-page  book,  ''The  New  Road  to  Author- 
ship."   I  am  most  interested  in 

□  Photoplay  Writing  □  Short  Story  Writing 

□  Dramatic  Criticism  \ 

□  English  Expression  □  Business  fetter  Writing 


Name.,. 
.  Address. 


All  correspondence  strictly  confidential 


ehind  the  ofltccn 


Lillian  Gish  was  much  -surprised  the 
'  other  day  to  discover  that  she  had 
gone  to  France  at  the  request  of  composer 
Charpentier  (no  relation  to  Georges)  to 
appear  in  a  silent  screen  version  of  his 
celebrated  opera,  "Louise;"  she  had  gone 
to  Germany  to  appear  in  a  continental 
company's  production  of  "Faust,"  as 
Marguerite;  she  had  signed  with  Famous 
Players  to  take  Elsie  Ferguson's  place  in 
the  title  role  of  the  filmization  of  Mol- 
nar's  play,  "The  Swan;"  she  had  made  a 
new  contract  to  star  in  a  series  of  pic- 
tures for  Metro-Goldwyn. 

Lillian  was  surprised  because  she  was 
the  last  to  hear  about  these  reported  ac- 
tivities. None  of  them  is  true.  As  a 
matter  of  cold,  hard,  businesslike  fact, 
Miss  Gish  is  just  at  present  completing 
the  editing  and  cutting  of  "Romola,"  the 
picture  which  she  and  her  sister  Dorothy 
made  in  Italy,  and  wondering  what  she 
is  going  to  do  next.  Her  managers  have 
not  yet  decided  and  meanwhile  the  Gishes 
are  keeping  their  well-known  eyes  open 
for  new  stories. 

By  the  way,  when  we  said  Lillian  is 
cutting  "Romola,"  we  meant  it.  Many 
stars  superficially  supervise  their  produc- 
tions. But  we  met  Lillian  the  other  day 
coming  out  of  a  stuffy  little  projection 
room  where  she  had  been  viewing  thou- 
sands of  feet  of  film  herself,  and  giving 
directions  as  to  the  actual  cutting.  Her 
long  career  as  a  Griffith  heroine  gave  her 
valuable  experience  along  these  lines,  for 
D.  W.  always  called  his  leading  lady  in 
to  watch  the  "rushes"  and  to  give  him 
advice  as  to  what  bit  should  stay  in  and 
what  sequence  should  be  ruthlessly  ampu- 
tated. In  fact,  Lillian  is  one  of  the  few 
stars  in  pictures  interested  in  something 
besides  her  own  close-ups. 


James  Rennie  is  the  only  member  of 
the  Gish  family  who  is  acting  just 
now.  He  plays  a  leading  role  in  a  Broad- 
way play,  "The  Best  People,"  and  also 
did  one  week's  work  in  a  Paramount  pic- 
ture featuring  Bebe  Daniels,  called  "Ar- 
gentine Love." 

"I  play  the  American  opposed  to  love 
of  the  Argentine  variety,"  he  said.  "And 
he  gets  the  gal,"  added  his  wife  Dorothy; 
"he  always  does." 

"On  the  screen,  my  dear,"  admonished 
Mr.  Rennie. 


1 


T  is  the  young  leading  woman  of  "The 
Best  People"  who  is  to  appear  in  the 
cinema  "Swan."  She  is  Frances  How- 
ard, and  it  will  be  her  first  picture! 


Jesse  Lasky  announced  the  acquisition 
of  Miss  Howard  for  this  important  role 
not  long  after  startling  the  screen  world 
with  the  signing  of  an  unknown  little 
extra,  Betty  Bronson,  for  "Peter  Pan." 
Mr.  Lasky  and  a  party  of  friends — in- 
cluding Sari  Fedak,  an  actress  popular 
and  esteemed  in  Europe  and  incidentally 
the  wife  of  Molnar,  author  of  "The 
Swan" — attended  a  performance  of  "The 
Best  People;"  and  the  instant  Madame 
Molnar  saw  Frances  Howard  she  ex- 
claimed. "There  is  your  Swan!"  or  words 
arriving  at  the  same  conclusion. 

It  is  to  be  conjectured  that  Mr.  Lasky 
seized  upon  her  enthusiasm  with  relief; 
for  his  production  of  the  play  had  been 
held  up  owing  to  the  desertion  from  the 
cast  of  Miss  Elsie  Ferguson.  Nobody 
seems  to  know  just  what  happened:  but 
something  tells  us  that  Miss  Ferguson 
must  have  displayed  a  little  of  the  tem- 
perament for  which  she  is  justly  or  un- 
justly noted;  anyway,  she  and  the  direc- 
tor, Dimitri  Buckowetski,  did  not  work 
together  very  long. 


And  so  it  came  about  that  Frances- 
-Howard  had  her  screen  test,  photo- 
graphed even  better  than  expectations, 
and  is  now  on  the  road  to  film  fame. 

And  then  they  say  there's  nothing  in 
luck!  Think  of  the  "if's"  involved  in 
this  young  actress'  great  chance.  If  Miss 
Ferguson  and  "Buco"  had  agreed;  if 
Madame  Molnar  had  not  attended  the 
performance  of  "The  Best  People:"  if 

 .    But  here's  Miss  Howard.  Good 

luck  to  her! 


[ope  Hampton  is  in  hiding.  We 
came  upon  her  in  a  side-street  the 
other  day  trying  to  edge  her  way  out  of 
a  small  mob  which  surrounded  her.  She 
was  quietly  dressed  in  black  and  was 
doing  her  best  to  appear  inconspicuous, 
but  a  crowd,  mostly  girls,  had  interrupt- 
ed her  shopping  tour. 

"I  came  out  the  back  entrance  of  a 
shop,"  she  said  breathlesrly,  "and  now 
I  can't  find  my  car.  And  I'm  late  for 
my  dancing  lesson.     Well — I'll  walk." 

She  fiew  down  the  street,  leaving  her 
audience  to  exchange  their  opinions. 
"Too  bad  her  coloring  can't  show  on 
the  screen,"  was  one  of  the  comments 
we  caught.  But  Hope's  auburn  hair  and 
sapphire-blue  eyes  will  soon  be  seen  on 
the  stage  in  the  new  musical  comedy, 
"Madame  Pompadour." 


SCREENLAND 


'\TOT  so  long  ago  we  saw  a  framed 
picture  of  Adolphe  Menjou  on  a 
ipaiitelpiece. 

L'%  used  to  go  to  school  with  him," 
Loudly  declared  the  lady  of  the  house. 
|And,  while  I  haven't  seen  him  since, 
know  he  hasn't  changed  a  bit.  I  could 
ijell  it  on  the  screen  in  a  second,  if  he 
isd." 

She  can't  be  so  very  ancient,  this 
lady.  And  so  Adolphe  isn't  after"  all  the 
oiddle-aged  man  he  is  often  pictured.  In 
act,  not  a  day  over  thirty-five. 

Whatever  his  age,  motion  picture  Man- 
rattan  knows  he  is  most  happily  married. 
Reporters  who  came  up  to  the  hotel  which 
loused  the  Menjous  during  their  eastern 
cjourn  were  amazed  and,  maybe,  dis- 
nayed  to  discover  Mrs.  Menjou  mending 
\dolphe's  socks! 


SpycK  Barthelmess  is  to  have  a  new 
±J  leading  lady. 

He  didn't  have  to  look  very  long  or 
!go  very  far  to  find  her.  He  just  went 
tiome  from  the  studio  one  evening  and 
remarked  to  his  wife.  "Well,  dear,  how 
Aould  you  like  to  play  opposite  me  in 
'New  Toys'?"  "Why,.,  yes,  Dick;  I'd 
te  glad  to.    Mary  the  Second  said  the 

-cutest  thing  today  " 

So  the  new  Barthelmess  picture  is  to 
,te  a  family  affair.  It's  a  domestic  com- 
edy-drama; and  will  mark  the  return  of 
Mary  Hay  Barthelmess  to  professional 
activity — her  first  appearance  since  she 
left  liMary  Jane  McKane."  the  musical 
comedy  in  which  she  starred. 

Mary  is  and  looks  like  just  a  kid.  She 
wears,  for  the  most  part,  sensible,  school- 
girl clothes;  she  behaves  and  talks  just 
like  any  well-bred  young  lady.  And  she 
was  a  delightful  hostess  at  the  studio 
party  which  Dick  gave  when  he.  assisted 
by  one  hundred  cadets  from  West  Point, 
Slmed  a  '"hop"  for  "Class-Mates."  Mary 
Hay's  father  is  a  U.  S.  Army  officer,  and 
paved  the  way  for  the  cooperation  of 
the  U.  S.  Military  Academy,  where 
scenes  were  ''shot"  for  the  first  time  in 
screen  historv,  outside  of  the  news-reels. 


tohx  Robertson  has  discovered  an  in- 
v  genue.  He  brought  May  McAvoj 
out  of  obscurity;  and  now  he  thinks  he 
has  found  a  girl  who  will  also  give  a 
good  account  of  herself  before  the  cam- 
era. She  is  Lucille  Upton,  and  what 
makes  it  even  more  interesting  is  that 
she's  the  little  sister  of  a  lady  whose 
name  seems  vaguely  familiar — one  Peggy 
Joyce. 

Peggy  is  not,  you  know,  the  regal, 
haughty  beauty  you  might  imagine  her, 
from  her  much-publicized  career,  to  be. 
She's  somewhat  naive  and  child-like. 


hat 


Happened 

in  the  > 

JfoVIES 


Ten  Years  Ago 


Resurrected  by  Gayne  Dexter 

Charles  Mortimer  Peck,  film  magnate, 
told  the  whole  wide  world  what  was 
wrong  with  the  movies.  Hearken  !  "The 
producers'  capacity  to  determine  be- 
tween good  and  bad  is  defective.  They 
will  pay  an  amateur  $5  for  a  practically 
worthless  two-reel  scenario,  $10  for  three 
reels,  $15  for  four  reels,  and  then  spend 
two  or  three  hundred  dollars  trying  to 
make  a  silk  purse  out  of  a  sow's  ear. 
If  the  same  producers  would  employ  a 
competent  man  to  buy  their  scenarios 
and  then  grasp  the  wisdom  of  paying 
expert  writers  from  $25  to  $100  per  reel, 
a  very  fine  start  would  be  made  toward 
establishing  the  motion  picture  as  a  firm 
and  permanent  amusement  for  the  public 
at  large."  (Gosh!  GOSH!) 

Thomas  H.  Ince  also  bewailed  "the 
lack    of   good   scenarios   and  declared 
melodrama  had  received  the  stamp  of 
public  disapproval  long  ago." 
(Attaboy,  Tom!    Now  tell  'em  again!) 

A  newspaper  reported  that  Wallace 
Beery  in  the  "Sweedie"  comedies  was 
getting  finer  ever}-  day  and  would  con- 
tinue to  produce  this  comedy  series  in- 
definitely. 

(But  he  reformed  and  became  a  villain.) 

Mary  Pickford  released  "Mistress 
Nell."  James  Kirkwood  was  her  direc- 
tor. Theodore  Roberts,  played  Sheriff 
Ranee  to  House  Peters'  Ramerrez  in  "The 
Girl  of  the  Golden  West."  Florence  Reed 
quit  the  stage  to  screen  "The  Dancing 
Girl."  Mrs.  Leslie  Carter  made  "Du 
Barry"  abroad  long  before  Pola  Negri 
was  ever  thought  of;  and  when  it  came 
to  Broadway  they  didn't  call  it  "Pas- 
sion," either.  Gaby  Deslys  revealed  her 
limbs  in  "Triumph."  while  the  Lois 
Weber -Phillips  Smalley  production, 
"Hypocrites,"  revealed  so  much  more 
(and  so  successfully)  that  by  the  end 
of  the  year  all  any  star  needed  for  fame 
was  a  string  of  beads  and  her  girlish 
laushter. 


When  nerves 
are  taut 
Beemarfs 
keeps  you 
poised'and 
keen  —  its 
daily  use  is 

"a  seMsihlt 
habit" 


BEEMANS 

TepsinGum^ 


AMERICAN  CHICLE  CO, 


SuporfluoufHAIR'aUGONE 


Forever  removed  by  the  Mahler 
Method  which  kills  the  hair  root 
without  pain  or  injuries  to  the 
skin  in  the  privacy  of  vour  own 
home.  We  teach  BeautyCulture. 
Send  today  3  stamps  for 
Free  Booklet 
O.J.  MAHLER  CO.,  232-B  MaMerPark,  Proridence.R.I. 


(jk. 


HRISTMAS 


REETINGS 


From  the  stars  to  their  best  friends,  the  movie  fans 


°l  Those  of  us  who  live  by  the 
favor  of  the  public,  whose 
efforts  are  spent  to  amuse, 
feel-  a  gratitude  toward  our 
patrons  that  is  appropriately 
expressed  at  Christmas  time. 
We  wish  you  all  a  Christmas 
of  happiness  and  a  Christmas 
of  love.  In  fact,  a  very 
Merry  Christmas. 


I  love  you  all  and 
wish  you  all  a 

^Merry  Christmas 


^Ann 


ton 


Christmas  love  to  you  all 


Wanda  Haw  ley 

9 


(greetings  to  all  my  friends 


10 


xJVLaud  Hill 


Photograph  by  De  Mirjian. 

With  the  very  best  Christ- 
mas Wishes  to  all  readers 
of  S GREENLAND . 


Flora  £ee 


^Marilyn  ^JvLille 


At  this  season  of  the  year  I  like  to 
think  of  my  many  friends,  and  I 
hope  that  my  thought  will  speed 
to  them  to  make  them  each  a  very 
Merry  Christmas. 


/  receive  so  many  letters  from  the 
readers  of  S GREENLAND  that 
I  feel  a  warm  friendliness  toward 
them  all.  Here's  wishing  to  each 
one  of  you  a  Merry  Christmas. 


ac  que  line  Slogan 


(^Murray  W.  (jarsson 


PRESENTS 


ove 


Everythm 


with 


Alma  Rubens 
Frank  Mayo 
H.  B.  Warner 
Walter  McGrail 

LilyanTashman 

Associated  Exhibitors 


ARTHUR  S  KANE, 


Gt77/£  'EXCt/AMG£  /A/C 


Encore 
Returns 


in 


SCREENLAND 


HRISTMAS  /  XOSE-UP 


HE  other  day  a  camera  man  from  one  of  the  motion  picture 
studios  told  us  that  when  they  take  a  close-up  of  one  of  the 
players  who,  through  laughter  or  through  years,  has  devel- 
oped some  noticeable  wrinkles,  they  photograph  her  through  gauze, 
which  irons  out  all  the  defects  and  blinds  the  camera  to  every 
blemish. 

It  has  occurred  to  us  what  a  wonderful  thing  it  would  be  if  every 
one  was  obliged  to  pose  for  a  moving  picture  camera  and  then  view 
the  result.  For  what  we  are  and  what  we  do  writes  itself  upon  our 
faces  in  unmistakable  signs. 

You  cannot  have  mean,  crabbed  thoughts  and  have  the  line  of  the 
curve  of  your  eyelid  stay  a  perfect  line.  Each  small  thought  pushes 
it  down.  You  cannot  have  self-pity  and  bemoan  your  own  hard  luck 
but  that  every  thought  will  drag  down  upon  the  corners  of  your 
mouth.  And  we  think  if  you  could  see  yourself  on  the  screen  you 
would  resent  these  signs  which  show  to  all  the  world  what  your 
thoughts  have  been,  and  you  would  long  for  the  ministrations  of  the 
tricky  photographer. 

But  all  this  has  been  arranged  for.  Christmas  comes  along  with 
the  pleasant  screen  of  kindliness,  and  if  you  will  look  upon  all  your 
friends  and  all  the  world  through  the  gauze  of  the  Christmas  spirit, 
you  will  no  longer  see  their  defects  and  the  world  will  look  so  much 
brighter  to  you  that  your  own  close-up  will  be  a  pleasant  one. 


SCREENLAND  wishes  you  the  happiest  thrill  in  the  world, 
which  is  the  sensation  when  one  truly  feels  the  Christmas  spirit. 


CHRISTMAS 


(\Harry  Lang  don. 
like  the  juggler 
of  Notre  Dame, 
gives  his  best  to 
glorify  the  Hap- 
py Season. 


Acrostic 


ay  this  Merry  Christmas  bring 
lEach  of  you  the  Wanted  Thing: 
SUst  and  quiet  dreams  for  those 

^Racked  and  wearied  of  their  woes. 

outh — for  you  not  warmth,  but  fire, 


By  Morrie  Kyskind 


(Hourage  that  shall  never  tire, 

iigh  Romance  and  Fine  Pretending 
^Ribboned  with  the  Happy  Ending, 
interwoven  with  sweet  sorrows, 

>uch  as  sweeten  Life's  Tomorrows. 
(Hake  of  these  what  gifts  you  need — 
iUay  they  come  with  all  Godspeed! — 
J^.nd  keep,  some  secret  place  apart, 

§ome  bit  of  childhood  in  your  heart. 


17 


Holly  Time  %  Hollywood 


The  unconcerned  dancers  in 
the  background,  the  pictur- 
esque set,  the  every  day  clothes 
of  Carey  Wilson,  Harry  Rapj 
and  Hobart  Henley,  making 
"So  This  Is  Marriage,"  are 
all  a  part  of  the  fascination 
of  Hollywood.  These  con- 
trasts and  inconsistencies 
make  up  life  in  the  movies. 


Or  a  party  with  Tom  Mix  on  location  where  he  is  photo- 
graphing "Teeth"  may  be  a  day's  work  for  the  screen  player. 


18 


When  at  last  "lien 
Jlur"  comes  to  town, 
much  of  the  hearty 
welcome  will  be  ex- 
tended to   little  Esther 


^McAvoy 


Photograph  by  Henry  Waxmaa. 


19 


ack  Holt  and  Lois  Wilson 
■ako  made  a  film  and  a  lot 
ids  in  Texas. 


ocation 


When  the  North  of  36  Company 
visited  Texas  to  film  Emerson  Hough's 
great  novel  on  the  scenes  described  in 
his  story,  they  were  expected,  by  the 
Texas  people,  to  be  a  very  queer 
bunch.  They  turned  out  to  be  regular 
fellows,  even  where  men  are  men. 


with  the  Movie  Folks 


Bj/  Guy  VLacLaughlin 


■  e're  plain  people  down  in  Houston.  And  when 
we  heard  that  the  movie  people  were  coming 
here,  that  that  pretty  girl  that  we  saw  in  "The 
Covered  Wagon"  and  Jack  Holt  and  Beery, 
that  we  all  had  seen,  were  going  to  live  among  us  for  a 
while,  it  aroused  a  good  deal  of  interest  among  us.  If  the 
truth  be  told,  we  were  prepared  to  be  a  little  shocked  at 
their  lack  of  morals— as  the  saying  goes,  we  expected  them 
to  be  bad  citizens  but  awfully  good  company. 

Emerson  Hough  laid  the  scenes  of  his  famous  novel, 
"North  of  36,"  in  this  locality;  in  fact,  the  very  house 
described  in  the  story  was  used  when  they  took  the  pic- 
tures. You  will  remember  the  book  de- 
scribes a  great  herd  of  cattle,  all  long- 
horns,  and  these  Bassett  Blakely  rounded 


he  arrived  with  his  movie  folks.  And  what  nice  people 
they  were!  I  don't  know  how  they  behave  in  Hollywood, 
but  a  finer,  plainer,  more  straight-forward  lot  of  folks  you 
never  met  in  your  life. 

It  was  my  privilege  to  be  a  guest  of  the  general  who 
commanded  the  National  Guard  cavalry  used  in  the  mili- 
tary scenes  of  "North  of  36."  We  had,  as  a  dinner  guest 
on  location,  the  charming  Lois  Wilson.  She  was  most 
gracious,  and  agreeable,  not  a  bit  "snippy."  A  little  later, 
when  we  were  chatting  with  Director  Willat,  mixed  up 
with  a  lot  of  cavalry  horses,  Miss  Wilson  approached, 
came  to  attention  in  her  neat-fitting  Del  Sol  male  attire, 
saluted,  and  said,  "I  wish  to  report  to  my 
boss  that  I  had .  nine  hours'  sleep  last 


Q  Coivboys  riding  herd  on  the 

big  bunch  of  longhorns  used  •  h(.  ,,      "Fine",  replied    Willat,  "then 

in  "North  of  36."   Just  before  0  ,  ' 

up  and  had  ready  for  Director  Willat  when        t/ie  ylff  fording  scene.  >"ou  re  nt- 


At  dinner,  later,  an  officer  passed  around  cigarettes.  Miss 
Wilson  refused  them.  "I  don't  smoke,"  she  explained; 
"not  that  I  think  it  is  immoral  or  anything,  but  I  don't 
see  that  it  adds  anything  to  a  woman's  attractiveness." 
If  one  should  meet  Lois  Wilson  in  any  setting  other  than 
a  movie  set,  it  would  not  be  easy  to  guess  her  profession; 
there  is  nothing  to  indicate  the  movie  actress,  unless  a  well- 
balanced,  sweet,  .frank  and.  very  pretty  young  woman  of 
high  intelligence  and  very  good  taste  and  manners  would 
be  such  indication.  In  other  words,  Lois  Wilson,  the  movie 
actress,  is  just  like  any  other  lovely  woman — the  kind  you 
might  meet  any  day,  anywhere.'  ■ 

We  asked  Charley  Irwin,  who  was 
major  domo  for  "Papa"  Blakely  at 
the  ranchhouse  and  had  complete 
charge  of  everything  pertaining 
thereto  on  behalf  of  Blakely,  what 
he  thought  about  Lois  Wilson.  "A 
mighty  fine  little  woman,  just  like 
your  sister  or  mine.  In  all  of  the 
seven  weeks  the  movie  people  were 
at  the  ranchhouse,  under  my  personal 
charge,  I  never  saw  the  least  thing 
out  of  the  way.    They  were  all  fine 


filmed.  Driving  through  a  curtain  of  woods  skirting 
White's  Lake,  we  came  abruptly  upon  the  herd,  the  cow- 
boys' herd  riding  the  bunch,  with  hoarse  admonitions  keep- 
ing the  cattle  bunched,  the  men  grim,  whiskered,  easy  in 
the  saddle,  where  they  had  been  holding  the  herd  and  wait- 
ing for  the  proper  sun  since  eight  in  the  moming.  It  is 
now  four  in  the  afternoon.    The  sun  comes  out  clear. 

"All  right,  drive  'em  in,  Mr.  Blakely.  Camera,  action.  " 
calls  Mr.  Willat.  And  the  big  dun  steer  trots  out  ahead 
of  the  herd  toward  the  water,  urged  thereto  by  the  riders 
at  the  "point."    A  cowboy,  believing  Alamo  is  going  too 


01  "Alamo,"  the'  steer  who  be- 
came a  movie  actor.  Lois 
Wilson  and  Ernest  Torrence 
behind. 


folks.  Out  of  the  fifty-five  people  in  the  cast,  from  prin- 
cipals to  laborers,  they  were  mighty  fine  folks,  only  one 
man  got  a  little  off,  and  he  got  a  good  thrashing  and  was 
fired  back  home  by  Mr.  Willat  right  away.  They  didn't 
know  much  about  cattle,  at  first,  nor  about  handling  our 
negroes,  but  they  soon  learned  to  leave  both  of  these  things 
to  us.  I'm  sorry  to  see  'em  go — they  were  the  kind  of 
people  you  like  to  be  with,  business-like  to  the  penny,  punc- 
tual to  the  dot,  and  clean  as  a  hound's  tooth."  Irwin  is 
an  ex-cowboy,  was  manager  of  the  Houston  Club  for  a  num- 
ber of  years,  is  honest,  fearless  and  fair.  He  appears  in 
one  of  the  close-ups  of  the  steer  Alamo,  to  the  left  of  Lois 
Wilson,  his  whiskered  head  framed  in  the  opening  of  the 
covered  wagon  in  the  background. 

Next  in  order,  in  our  opinion,  comes  Alamo,  the  great 
dun  steer,  that  might  have  walked  bodily  right  out  of  the 
pages  of  Emerson  Hough's  story — the  great  body,  the  lum- 
bering gait,  the  wide,  straight  typical  Texas  long  horns. 
We  visited  the  location  the  day  the  fording  scene  was 


fast,  starts  to  head  him  off.  "Let  him  alone,"  yells  Blakely. 
"he'll  stop."  And  stop  he  did,  at  the  water's  edge.  The 
great  dun  steer  turned  and  looked  back  over  his  broad 
shoulder  at  the  herd  behind  him ;  the  cattle  began  to  trickle 
along  after  him;  he  gathered  himself  at  the  brink,  and 
steer-like,  plunged  in,  and  the  crossing  of  the  initial  river 
on  the  fateful  drive  "North  of  36"  was  on.  The  herd  fol- 
lowed, the  covered  wagons,  ox-drawn,  with  Ole  Mammy 
inside,  and  an  old  negro  on  the  floating  log  outside  and 
alongside,  urging  the  oxen  to  swim  with  a  long  stick  for 
a  whip,  the  cowboys  guiding,  and  the  wagons  and  carts  and 
the  principals  following  and  swimming  across. 

The  lake  was  a  writhing  mass  of  swimming  cattle,  float- 
ing wagons,  and  cowboys  swimming  their  horses.  Two 
thousand  head  of  long  horns  swimming  the  natural  barriers 
between  their  lady  owner  and  her  dream  of  heart's  desire. 

After  the  fording,  Bassett  Blakely  rode  with  us  the  four 
or  five  miles  to  the  ranchhouse.    On  the  way  we  talked. 


22 


we 


asked 


Q.  The  players  and  direc- 
tor who  went  on  loca- 
tion. Jack  Holt.  Ernest 
Torrence,  Director 
Willat,  Noah  Beery 
and  Lois  Wilson. 


Blakely's  contract  with  Paramount 
called  for  putting  six  hundred 
head  of  cattle  across  the  stream. 
Willat  felt  that  the  scene  would 
be  more  impressive  with  two 
thousand  head.  "All  right."  said 
Blakely,  "give  me  half  a  day.  and 
I'll  put  'em  across  for  you."  and 
he  did,  without  any  additional 
compensation,  one  of  the  reasons 
we  have  cast  "Papa"  Blakely  well 
up  among  the  high  lights  in  this 
film  production. 

"What   about    this  director?" 
Blakely. 

"He's  all  right,  but  he  doesn't  know  cat- 
tle, he  asked  me  to  bring  'em  up  close  to 
the  camera,  when  they  were  new  and  wild — 
I  told  him  the  only  way  to  get  'em  up  to 
t-he  camera  would  be  to  rope  'em  and  drag  'em  up.  These 
boys  are  all  right,"  continued  "Papa,"  "they  are  doing  their 
best,  they  have  a  time  limit  and  a  money  limit,  and  their 
work  is  hard.  We  are  doing  everything  we  can  to  help 
them  get  a  good  picture."  ' 

And  a  good  picture  they  did  get,  no  doubt  about  that. 
Another  little  indication,  to  our  mind,  that  the  picture  game 
is  no  longer  the  loose  end  thing  some  people  believe  it  to  be. 
It  is  a  business,  and  modern  business  hasn't  any  time  for 
"parties,"  or  "booze,"  or  any  sort  of  looseness.  As  an 
indication  of  the  feeling  of  the  cast  toward  Blakely,  he 
very  soon  became  "Papa"  Blakely  to  young  and  old,  and. 
like  the  other  stars  of  the  cast,  there  was  provided  for 
him  on  location  one  of  the  regular  easy  camp  chairs,  with 
his  name,  "Papa"  Blakely,  painted  on  the  back. 

Miss  Wilson  characterized  "Papa"  as  the  "most  remark- 
able man  I  have  ever  met." 

I  asked  Willat,  "What  about  Blakely?"  He  replied, 
"When  I  want  something  particularly  well  done  I  send  for 
Bassett  Blakely  or  ten  cowboys." 

A  word  or  two  about  Willat :  We  saw  him  many  days 
in  succession.     Quiet,  gentlemanly,  studious,  never  in  a 


Cl  The  cowboys  at  White's  Lake 
on  the  Bassett  Blakely  20,000 
acre  ranch  with  Ernest  Tor- 
rence, Lois  Wilson  and  Jack 
Holt  in  line. 


hurry,  courteous  to  cast  and  out- 
siders. He  went  about  his  trying 
task  as  a  real  man  and  an  artist. 
One  evening  we  said  to  him,  "Mr. 
Willat,  how  is  it  you  manage  never 
to  get  out  of  patience,  or  lose 
your  poise?"  "Oh,  I  don't  know, 
I  guess  I've  learned  that  is  the  best  way  to 
get  results." 

We  saw  much  of  Ernest  Torrence  and  ob- 
served him  in  intimate  association  with  men 
and  women  and  children.  His  reaction  to 
each  situation  classified  him  in  our  estimation 
as  about  as  near  the  ideal  of  the  gentleman 
as  we  ever  hope  to  meet.  Many  times  we  watched  Lois 
Wilson  and  Ernest  Torrence  in  earnest  conversation.  Mr. 
and  Mrs.  Torrence  chaperoned  Miss  Wilson  on  a  recent 
tour  of  Europe  and  you  know  that  no  human  being  can 
hide  from  a  trained  observer  the  things  going  on  in  the 
mind  behind  the  face.  Every  emotion  that  passed  across 
the  expressive  face  of  Lois  Wilson  was  a  beautiful,  a 
pleasant  and  delightful  expression,  the  kind  a  doting  father 
would  love  to  see  in  the  face  of  a  loyal  and  loving  daugh- 
ter. And  Ernest  Torrence.  to  call  forch  such  expression, 
must  be  the  sort  of  man  we  all  believe  he  is,  the  fine  type 
of  gentleman,  on  or  off. 

Noah  Beery,  playing  Rudabaugh.  the  most  dyed-in-the- 
wool  villain  any  author  ever  painted,  in  real  life  is  a  loving 
and  indulgent  father  and  friend — a  most  pleasant  man  to 
meet,  and  an  interesting  one.  He  is  about  as  far  removed 
from  the  villain  he  plays  as  day  is  from  night. 

Jack  Holt  is  "one  of  the  boys."  He  slapped  on  the  back, 
and  was  slapped  on  the  back,  in  perfect  camaraderie  by 
the  men  of  the  ranch.  We  can  take  him  at  the  estimate 
placed  by  these  men  of  the  out  of  doors.  He  is  a  gentle- 
man at  all  times,  as  well  as  being  the  ideal  Dan  McMasters. 


Betty  Bronson  s 


Mary  Brian  as  "Wendy. 


By  H.  B.  K.W/7//J 


|^  w  v^jHERE  has  been  a  lot  of  ante-mor- 
tem wailing  and  gnashing  of  teeth 
anent  the  filming  of  "Peter  Pan,'' 
which  is  about  as  timely  and  en- 
tertaining as  an  undertaker's  business  card 
would  be  to  the  proud  parents  of  a  brand 
new  baby. 

That  vast  army  of  leading  ladies  and 
film  ingenues,  who  have  had  their  green 
eyes  focussed  on  the  Maude  Adams  role 
since  Lasky  some  years  ago  first  an- 
nounced the  Barrie  play  would  be  es- 
sayed, is  in  the  forefront  of  the  press  of 
eager  hired  mourners.  The  cognoscenti, 
a  battalion  of  directors  now  envious  of 
Herbert  Brenon,  who  is  making  it,  and  a 
regiment  of  assorted  moaners  and  squeak- 
ers, who  "just  know  the  thing  will  be  a 
flop,'"  have  their  mutes  off  in  order  to 
swell  the  din. 

When  I  heard  that  Brenon  was  making  a  botch  of 
"Peter"  I  almost  stripped  my  gears  in  my  eagerness  to 
run  the  rumor  down.  I  also  wanted  to  look  Betty  Bron- 
son  over  for  the  benefit  of  Screenland's  dear  readers  as 
she  mangled  the  heart-twisting  role  with  which  Adams 
used  to  wring  tears  from  the  hearts  of  pawn-brokers  and 
other  gentle  souls. 

The  "Peter"  sets  at  the  Lasky  lot  in  Hollywood  are 
about  as  wide-open  as  the  heavenly  gates  will  be  to  the 


Peter  finds  his  shadow 
in  a  dresser  drawer  in 
the   Darling  Nursery. 


employers  of  child  labor.  Secrecy  pervades  the  place  and 
large  "No  Admittance"  signs  loom  through  the  half-lit 
gloom. 

But  I  met  Herbert  Brenon,  the  director,  as  I  was  watch- 
ing Betty  Bronson  touch  up  her  make-up  on  the  corner 
of  the  stage  outside  ..the  fast-closed  door. 

Right  here  I  may  well  admit  that  I  was  a  bit  soured 
on  the  Bronson  child  because  she  had  stolen  a  preciou? 
plum  away  from  some  (Continued  on  Page  92) 


24 


the 


Cl  Mr.  Barker  di- 
recting a  scene 
on  an  Arizona 
location  for  "The 
Great  Divide," 
William  Moody's 
famous  p  i  a  y. 
Percy  Hilburn  is 
chief  camera- 
man. 


01  Henry  King  di- 
recting one  of 
the  mob  scenes 
in  "Romola." 
Here  the  camera 
is  arranged  to 
follow  the  mob. 


®L  They  are  always  at  it — 
Bj/  night  and  by  day, 
week  after  week,  the  film- 
makers are  at  work. 


he  clicking  of  the  motion  picture  camera  is  ubiqui- 
tous.   Not  only  is  it  heard  above  the  sputter  of 
the  kliegs  in  the  movie  studios  but  it  lifts  itself 
above  the  lapping  of  the  waves  that  surround 
the  millionaire's  yacht.   In  distant  Spain  the  barnyard  fowls 
stand  curiously  watching  the  camera,  and  the  silence  of 
the  Sierra  Nevadas  is  broken  as  the  melodrama  of  the 
West  is  recorded. 

.  The  motion  picture  camera  is  everywhere;  even  at  this 
moment  its  all-seeing  eye  is  viewing  drama  and  romance, 
history  in  the  making  and  history  re-created  for  the  screen.. 

This  most  romantic 
and  picturesque  busi- 
ness is  not  without  its 
practical  hard-headed 
business  side.  The 
demand  for  films  is 
insatiable,  and  new 
films  must  always  be 
ready  to  satisfy  the 
demands. 


Q  Tom  Terriss  directing  a  scene  for 
"The  Bandolero"  in  Spain.  Manuel 
Granada  and  Rita  Rossi  are  being 
filmed — Pedro  de  Cordoba  and 
Renee  Adoree  are  looking  on. 


^Barbara  La  Marr  and  Bert 
Lytell  on  location  making 
"S  a  n  d  r  a"  at  Greenwich, 
Conn.,  on  Long  Island  Sound. 


26 


hootine's  Fer 


Hollywood  II^ork  Schedule 


(According 

to  "FiltnograpK.") 

Studio 

Star 

Director 

Title 

Remarks 

Ben  Wilson 

Yakima  Camutt 

Ben  Wilson 

5-Reel  Western 

Shooting 

Buster.  Keaton 

Buster  Keaton 

John  McDermott 

''Seven  Chances" 

Shooting 

Cumberland 
Century 

(Bert   Sternbach  Casting) 

Bobby  Ray 
(Buddy  Messenger 
milliard  Karr 
( Wanda  Wiley 

Glen  Cavender 
Chas.  Lamont 
Eddy  I.  Luddy 
Jess  Robbins 

2-Reel  Comedy 
Untitled 
"Keep  Cool" 
"Up  in  the  Air" 

Preparing 
Shooting 
Shooting 
Shooting 

Chaplin 

Charlie  Chaplin 

Charlie  Chaplin 

Untitled 

Shooting 

Christie 

(Harry    Edwards  Casting) 

Bobby  Vernon 
Neal  Burns 

Archie  Mayo 
Gil  Pratt 

Untitled 
Untitled 

Preparing 
Shooting 

Kahn  Kid  Komedies 

Queen  Titania 

Mark  Goldaine 

2-Reel  Comedy 

.  Shooting 

Sultan  Comedies 
Cameo  Comedy 
Lloyd  Hamilton 
Jack  White 

Lige  Conley 
Bowles-Vance 
Lloyd  Hamilton 

Norman  Taurog 
Al  Ray 
Fred  Hibbard 
Arvid  Gilstrom 

Mermaid  Comedy 
Comedy 

2-Reel  Comedy 

Shooting 
Shooting 
Shooting 
Shooting 

Douglas  MacLean 
(Individual  Casting) 
F.  B.  O. 
F.  B.  O. 
Lefty  Flynn 
Gothic 

Larry  Semon 
Schulberg 
Carlos 
Verschleiser 
Emory  Johnson 

Douglas  MacLean 

Vaughn-O'Hara 
Al  Santell 
Lefty  Flynn 
E.  Brent 
Larry  Semon 
Alice  Joyce 
Dick  Talmadge 
All-Star 
All-Star 

George  Crone 

Del  Andrews 

Harry  Garson 
Tod  Browning 
Larry  Semon 
®     Louis  Gasnier 
Jimmie  Horne 
Edw.  J.  Le  Saint 
Emory  Johnson 

"Sky  High" 

"The  Go-Getters" 
"Parisian  Nights" 
Untitled 
"The  Prude" 
"Wizard  of  Oz" 
"The  Whiteman" 
"Hail  the  Hero" 
"The   Three  Keys" 
Untitled 

Shooting 

Shooting 

Preparing 

Shooting 

Preparing 

Shooting 

Shooting 

Shooting 

Shooting 

Preparing 

Fox 

(James  Ryan  Casting 

Kala  Pasha 
All-Star 
All-Star 
All-Star 
Tom  Mix 
All-Star 
Edmund  Lowe 
Buck  Jones 
George  O'Brien 

Slim  Summerville 
Roy  Del  Ruth 
Geo.  Marshall 
Henry  Otto 
Rowland  V.  Lee 
Tack  Blystone 
W.  S.  Van  Dyke 
Denison  Clift 
Edmond  Mortimer 
Emmett  Flynn 

Comedy 

2-Reel  Comedy 
"Van   Bibber's  Burglar" 
"The  Folly  of  Vanity" 
"In  Love  With  Love" 
"Dick  Turpin" 
"Checkers" 
"Courts  of  Call" 
"The  Arizona  Romeo" 
"The  Dancers" 

Shooting 
Shooting 
Shooting 
Shooting 
Shooting 
Shooting 
Shooting 
Shooting 
Shooting 
Preparing 

Roy  Hughes 

Donna  Hale 

Roy  Hughes 

"Fugitive  of  Love" 

Shooting 

Renaud  Hoffman 
Jimmy  Hogan 
J.  P.  McGowan 

Independent 

Jules  Le  Baron 

Colorado 

All-Star 
All-Star 
Helen  Holmes 
Bill  Cody 
Franklin  Farnum 
Bob  Custer 
All-Star 

All-Star 

Hoffman 

J.  Hogan 

J.  P.  McGowan 

J.    P.  McGowan 

Wally  Van 

Reeves  Eason 

John  G.  Adblfi 

"On  the  Threshold" 
"Women  and  Gold" 
"Barriers  of  the  Law" 
"The  Trail   in  the  Dark" 
"Walk  Right  In" 
"Trigger  Fingers" 
"Children  of  the  Whirl- 
wind" 
"The  Birth  of  the 
West'" 

Preparing 

Preparing 

Shooting 

Preparing 

Shooting 

Shooting 

Preparing 

Shooting 

Ince 

Lloyd  Ingraham 

Charles  Ray 
Harry  Carey  ■ 

R.  William  Neill 
Lloyd  Ingraham 

"The  Desert  Fiddler" 
"Soft  Shoes" 

Shooting 
Shooting 

Metro-Goldwyn-Mayer 

IK.   Jo.  ivicintyre  casting; 

All-Star 
All-Star 
Mae  Murray 
All-Star 
All-Star 

Alf  Goulding 
Robt.  Vignola 
Von  Stroheiin 
Reginald   Barker  . 
Robt.  Leonard 

"Excuse  Me" 
"The  Summons" 
"The  Merry  Widow" 
"Dixie" 

"Cheaper   to  Marry" 

Shooting 

Preparing 

Shooting 

Shooting 

Preparing 

Paramount 

(Tom   White  Casting) 

All-Star 
Betty  BronsOn 
All-Star 

Kirkwood-Nilsson 

All-Star 

All-Star 

Pola  Negri 
All-Star 
Lois  Wilson 
1  Agnes  Ayres 

Irwin  Willat 
Herbert  Brenon 
Victor  Fleming 
George  Melford 
Wm.  K.  Howard 
Wm.  DeMille 
James  Cruze 

Raoul  Walsh 
Cecil  B.  DeMille 
Alan  Crosland 
Paul  Bern 

"North  of  36" 
"Peter  Pan" 
"The   Devil's  Cargo" 
"Top  of  the  World" 
'The  Code  of  the  West" 
"Locked  Doors" 
"The  Goose  Hangs 

High" 
"East  of  Suez" 
"Golden  Bed" 
'Contraband" 
"Tomorrow's  Love" 

Shooting 
Shooting 
Shooting- 
Shooting 
Shooting 
Shooting 

Preparing 
Preparing 
Preparing 
Preparing 
Preparing 

C.  W.  Patton 

Bob  Hill. 

'The  Girl  of  Vigilante" 

Preparing 

Principal 

All-Star 

Sam  Wood 

"Recreation  of  Brian 
Kent" 

Preparing 

Hal  Roach 

Glenn  Tryon 
The  Spat  Family 
Arthur  Stone 
Our  Gang 
Charley  Chase 
Rex,  the  Horse 

Roy  Clements 
Jay  A.  Howe 
Eugene  DeRue 
Robt.  McGowan 
Leo  McCarey 
Fred  Jackman 

2-Reel  Comedy 
2-Reel  Comedy 
2-Reel  Comedy 
2-Reel  Comedy 
1-Reel  Comedy 
6  Reels 

Shooting 
Shooting 
Shooting 
Preparing 
Shooting 
Preparing 

Joe  Brown 

All-Star 
Reed  Howes 

Al.  Rogell 
Al.  Rogell 

"Easy  Money" 
"Taxi-cab" 

Shooting 
Preparing 

(Continued  on  Page  78) 

27 


oan  ©oowell 

SAILOR  GIRL 

She's  a  good  skipper 

and  a  good  player,  and 

her  ship  is  coming  in. 


By  Edward  J.  Doherty 


It  is  the  happiest  tale 
of  Hollywood  where 
tales  are  many  and 
various;  a  tale  of  the 
movies  and  the  sea;  a  tale 
of  windjammers  and  cocoa- 
nuts  and  outrigger  canoes 
and  romance  and  fascination; 
the  tale  of  Joan  Lowell,  a 
sailor  girl  who  is  cruising  to 
the  stars. 

Black-haired  she  is,  and 
brown-eyed;  the  strength  of 
the  tides  is  in  her;  and  the 
depths  of  unsounded  seas. 

For    fourteen    years  she 
roamed  the  world  of  water 
with  her  father  in  the  "Min- 
nie A.  Caine,"  a  windjammer  with  only  one  yard.  Copra 
and  sandalwood   between   the    Solomons    and  Australia. 
Cruises  that  took  eight  months.    Voyages  that  took  9,000 
miles — and  the  ship  making  a  good  five  knots  an  hour. 

Fourteen  years  of  bossing  her  father's  ship  and  badger- 
ing his  crew,  and  walking  and  talking  like  a  man.  Fourteen 
years  without  the  sight  of  another  white  woman.  Four- 
teen years  of  overalls  and  bare  feet  and  hair  tied  up  in 
a  mop. 

Joan  was  three  years  old  when  her  dad  first  took  her 
to  sea.  She  was  the  last  of  eight  children,  and  her  mother 
was  ill  and  could  not  care  for  her.  She  was  seventeen 
years  old  when  she  came  back  to  the  home  in  Berkeley. 
She  had  never  seen  silk  stockings.  She  had  never  powdered 
her  nose,  nor  seen  a  moving  picture,  nor  ridden  in  an 
automobile. 

She  walked  like  a  sailor,  and  she  talked  like  one.  No- 
body had  ever  told  her  that  ladies  do  not  say  "damn," 
which  was  the  mildest  word  in  her  vocabulary. 

"Ah,  the  things  they  said  of  me,'-  Joan  remembers. 
"The  way  they  talked  of  me  when  I  came  home  to  stay. 
I  would  never  amount  to  much  with  the  education  I  had. 


CI  Little  Joan  expresses,  in- 
ker face,  the  poetic 
quality  of  the  sea. 


01  F  o  r  fourteen 
years  Joan 
Lowell  lived  at 
sea,  a  sailor 
among  sailors. 


I  must  be  bad  at  heart.    I  would 
probably  run  away  and  marry  a  gob. 
They  think  all  sailors  are  boys  with 
funny  white  caps  on  their  heads. 
"Old  hens!  They  made  me  cry!" 
Joan  went  to  work  as  soon  as  she  could,  carrying  food  to 
the  guests  in  a  Berkeley  hotel  dining  room  at  eighty-five 
cents  a  day.    And  at  night  she  studied. 

She  went  to  the  telephone  company,  but  she  held  the 
job  but  a  week. 

"You  had  to  sit  up  so  straight,"  she  said,  "and"  every 
once  in  a  while  the  supervisor  would  come  along  and 
give  you  a  poke  in  the  back. 

"And  sometimes  when  the  board  would  light  up  all  over, 
I'd  get  to-  dreaming.  I  could  fancy  we  were  in  the  dol- 
drums, motionless,  a  painted  ship  upon  a  painted  sea,  the 
sails  hanging  lifeless,  with  neither  lee  nor  windward — the 
deck  hot,  so  hot  it  burned  my  feet.  And  then  at  night 
there  would  be  a  sudden  downpour  of  rain. 

"And  everywhere  a  raindrop  fell  into  that  glassy  sea  it 
seemed  to  touch  it  with  fire.  It  used  to  scare  me  every 
time,  though  I  knew  it  was  only  phosphorous.  I  knew  it, 
but  I  felt  the  ship  would  surely  burn  in  that  wide,  wide 
sea  of  fire. 

"Lights  on  a  switchboard — lights  on  a  ship!  The  red 
and  the  green  lights  high  up,  and  the  dim  light  in  the 
binnacle  box.  It  was  still  in  the  telephone  exchange  of- 
fice— it  was  still  at  night  on  the  ship,  and  sometimes  I 


28 


SCREEN  LAND 


29 


could  fancy  we  were  under  the  light  in  the  binnacle  box 
again,  Swede  Nelson,  Johnny  Allsorts  and  some  others, 
playing  poker  with  a  deck  of  cards  that  were  always  stuck 
together  with  tobacco  juice  or  dirt. 

"We  used  beans  for  counters,  and  I  always  lost.  Some- 
thing in  my  eyes  gave  me  away  every  time  I  had  a  hand. 
And  I  was  always  caught  when  I  bluffed.  And  every  night 
I'd  go  to  the  slop  chest — that's  what  we  call  the  store- 
room where  supplies  are  kept — and  pay  my  debts  with  a 
pair  of  shoes  or  a  woollen  shirt,  or  a  slicker.  My  father 
never  knew  why  he  was  always  shy  in  his  inventory  at  the 
end  of  a  cruise. 

"You  see,  he  bought  at  wholesale  prices,  and  sold  to 
the  men  at  retail  as  all  skippers  do.  And  I  didn't  know 
what  the  things  were  worth." 

Just  a  week  at  the  telephone  office,  with  dreams  of  the 
sea  that  were  broken  with  a  poke  in  the  back  or  the  mur- 
mur of  peevish  voices  that  came  out  of  the  lights  on  her 
board. 

But  she  had  studied  stenography,  and  she  didn't  care. 
She  found  a  place  in  a  San  Francisco  lawyer's  office,  at 
$25  a  week.  She  would  walk  up  Market  Street  from  the 
ferry  to  save  her  carfare  and  spend  it  for  candy.  She 
had  never  known  candy  before. 

"It  was  terrible,"  she  says.  "Sitting  all  day  in  a  poky 
office,  being  ordered  around  by  a  boss,  writing  dry  law 
phrases  every  hour — 'in  the  above  entitled  cause,'  'now 
comes  Jane  Doe,  plaintiff,'  and  all  the  rigamarole  of  the 
business. 


"I  wasn't  used  to  being  bossed  around.  My  dad  was 
supreme  on  his  ship,  and  I  had  been  used  to  doing  as  1 
pleased. 

"And  sometimes  I  kicked  off  my  shoes,  and  imagined 
I  was  a  barefooted  bucko  mate  again,  sitting  up  on  the 
poop  deck  of  the  "Minnie  A.  Caine,"  and  shooting  sticky 
prune  stones  at  the  man  at  the  wheel. 

"You  know  we  used  to  have  spitting  contests  on  board 
ship.  Did  you  ever  see  an  old  salt  spit?  Great,  big, 
bearded  fellows,  with  tobacco  stained  whiskers,  and  a  lump 
in  whichever  cheek  is  hiding  the  quid — they  are  the  kind- 
est and  the  cleanest  men  alive. 

"Oh,  I  know,  drunk  in  every  port,  booze  and  women 
and  cracked  heads  and  all  that.  But  there  never  was 
one  of  them  I  didn't  like.  And  there  never  was  one  who 
wasn't  nice  to  me.  One  and  all  they  said,  'the  capt'n's 
kid  is  a  cute  little' — well,  you  can  imagine  what  they  said. 

"Every  time  we  got  a  new  man  I'd  ask  him  how  far 
he  could  spit.  He'd  look  at  me  in  amazement.  And  then, 
usually,  dad  would  say,  'She  means  how  far  can  you  heave 
your  wad?' 

"If  a  man  couldn't  spit  I  didn't  think  him  much  of  a 
sailor.  We'd  stand  in  a  line,  a  whole  watch  of  us.  and 
spit  at  a  mark.  The  rule  was  that  you  might  thrust  your 
head  or  body  over  the  line,  but  you  must  keep  one  foot 
behind  it. 

"I  was  allowed  to  spit  prune  juice — and  let  me  tell  you 
it  took  clever  thieving  to  get  the  prunes  from  the  cook. 
"I  got  so  I  could  hit  the  mark  pretty  well,  spilling 


Q.Joan    Lowell    has    a    vigorous,  staunch 
Utile  figure  ivith  all  a  mermaid's  charm. 


30 


SCREENLAND 


straight.  But  there  were  men  who  could  turn  around,  and, 
allowing  nicely  for  the  wind,  spit  curves  that  hit  the  mark 
fair  and  square. 

"I  always  saved  the  prune  seeds.  And  I'd  sit  up  on 
the  poop  deck  and  annoy  the  man  at  the  helm.  You  un- 
derstand it  is  the  strictest  rule  at  the  sea  that  the  man 
at  the  wheel  must  not  be  bothered.  He  must  hold  the 
ship  on  her  course.  The  slightest  loosening  of  this  hold, 
and  .the  vessel  goes  to  one  side  or  the  other. 

"And  down  stairs  in  his  cabin  is  my  hard  old  daddy,  fast 
asleep,  but  with  one  eye  watching  the  course  of  the 
"Minnie  A.  Caine"  and  ready  to  open  the  other  eye  and 
spring  up  the  stairs  at  the  slightest  alteration. 

"It  was  tremendous  fun,  and  I  became  so  proficient 
that  I  could  hit  a  man  at  any  point  of  the  neck  I  wanted 
to.  The  man  would  swear  out  of  a  corner  of  his  mouth — 
and  I'd  laugh  and  shoot  him  again.    They  never  squealed. 

"One  day  my  father  came  roaring  up  and  damning  the 
poor  helmsman  and  asking  him  what  the  fifty-seven  varieties 
he  meant.  Then  he  caught  sight  of  me,  staring  innocently 
out  to  sea. 

"  'My  baby  can  steer  better  than  you,'  he  shouted.  'Get 
to  the  foc'sle!' 

"It  was  the  greatest  disgrace  the  man  could  receive.  An 
able  seaman  to  be  sent  to  the  foc'sle!  Really,  you  can't 
imagine  what  it  means. 

"Then  my  father  made  me  take  the  wheel,  to  show  he 
meant  just  what  he  said.  Neither  the  man  nor  I  ever  told 
him.  No  sailor  would  ever  be  mean  enough  to  tell  on  a 
girl.   And  I  was  too  full  of  the  devil. 

"But  I  knew  I  would  have  to  pay.  And  I  wondered 
what  my  punishment  would  be.    I  learned  next  morning. 

"We  were  sailing  then  through  seas  of  barnacles — bar- 
nacles in  embryo  that  are  known  as  'Portuguese  fleets.' 
They  have  a  gossamer  sail,  you  know,  and  a  root,  or  a 
stem  underneath,  that  is  called  an  anchor.  They  sail  against 
a  ship,  and  cling  to  it,  and  harden. 

"These  -roots  or  anchors  sting  like  nettles  if  you  grasp 
them,  and  they  make  sores  on  you  that  rubbing  only  makes 
worse. 

"Every  day  the  boys  used  to  fill  my  canvas  plunge  with 
sea  water;  and  on  this  particular  day  they  had  filled  the 
water  with  these  stinging  'anchors.' 

"They  waited  until  I  had  plunged  in,  and  then  came  up, 
one  by  one,  innocent  as  lambs,  and  heaved  their  wads,  and 
asked  how  was  the  water.  I  wouldn't  let  them  know  for 
worlds.    But  I  almost  cried  I  was  so  covered  with  sores." 

Joan  Lowell  came  to  hate  life  with  a  terrible  hate.  Espe- 
cially life  in  an  office.  If  she  could  only  go  to  sea  again! 
Then,  quite  by  accident,  she  read  a  little  paragraph  in  a 
San  Francisco  paper,  saying  that  Goldwyn  was  sending  a 
moving  picture  company  to  Tahiti  to  make  a  picture. 

Tahiti!  To  see  it  once  again!  To  see  the  natives  come 
swarming  out  of  the  harbor  in  their  outrigger  canoes.  To 
have  them  clustering  all  about  her,  the  women  circling  her, 
drawing  nearer  and  nearer,  finally  to  touch  the  strange 
white  arms,  and  titter  and  hurry  away.  Tahiti !  The  open 
sea  once  more,  the  salt  wind  in  her  face,  the  lure  of  it,  the 
glamor  of  it,  the  almost  necessity  of  it! 

"I  bummed  a  ride  down  to  San  Pedro  on  a  boat  out  of 
the  Golden  Gate,"  Miss  Lowell  said.  "I  knew  the  captain, 
and  he  knew  my  dad.  I  had  $57  when  I  landed,  and  I  was 
ready  to  go  next  day  for  Tahiti. 

"I  went  at  once  to  the  Goldwyn  office,  and  told  some 
man  I  would  go  with  the  company  to  the  South  Seas. 

"He  looked  at  me 'in  a  funny  way  and  said  he  had  all 
the  people  he  needed. 

"  'But  I  don't  want  to  act,'  I  said.    'I  want  to  go  as  an 


interpreter.'     Any  old  job   would  have  done,  though. 

"He  gave  me  a  look  that  was  even  more  funny,  and 
chased  me  out.  But  on  the  way  out  I  had  caught  a  glimpse 
of  the  studio  sets.  And,  little  as  I  saw,  it  fascinated  me. 
I  felt  I  must  come  back  there  to  see  those  things  I  had 
not  time  now  to  see.    I  felt  it  was  a  fairy  land. 

"I  found  a  room  over  a  garage,  and  tried  to  find  some 
work.  I  couldn't  go  back  to  Berkeley,  I  felt,  after  I  had 
run  away.  And  I  wouldn't  go  back  until  I  could  show 
them  that  I  did  amount  to  something  after  all. 

"I  went  back  to  the  Goldwyn  studio  one  day,  and  talked 
to  the  man  at  the  gate."  He  wouldn't  let  me  in.  I  thought 
he  owned  the  place  he  was  so  pompous  and  important,  and 
I  gave  him  my  name  and  address,  and  the  telephone  num- 
ber of  the  garage,  and  told  him  that  if  he  heard  of  any 
work  in  his  studio  to  let  me  know.  He  was  nice,  even  if 
he  was  crusty,  and  he  did  call  me  up. 

"He  had  found  out  that  the  head  of  the  wardrobe  de- 
partment wanted  a  stenographer.  Again  I  was  getting 
$25  a  week.  And,  for  the  first  time  since  I  left  my  father's 
ship,  I  was  interested. 

"Everybody  knew  me,  of  course,  because  of  the  way  I 
used  to  rush  around,  the  voice — it  could  be  heard  through 
a  gale  when  there  was  need  for  it  to  be  heard— and  the 
manners  and  the  words  I  had  picked  up  on  blue  water. 

"The  company  came  back  from  Tahiti  after  a  time,  and 
I  saw  the  picture  they  had  made.  Everybody  was  asked 
to  give  his  opinion  of  it.  Everybody  said  it  was  wonderful. 
Everybody  but  me.  I  said  it  was  'rotten,'  and  I  said  it 
aloud. 

"I  told  them  what  things  they  could  have  found  in 
Tahiti,  if  they  had  only  known.  I  told  them  what  things 
the  natives  would  have  done  for  them,  what  they  would 
have  shown  to  them,  if  they  had  known. 

"Nobody  liked  my  outspokenness.  The  'yes  man'  is  still 
in  favor,  in  many  studios. 

"But  some  of  the  directors  talked  to  me,  and  I  guess 
they  were  interested  in  me.  One  day  they  proposed  that 
I  be  given  a  screen  test.  It  frightened  me,  but  it  made  me 
very  happy.  For  the  first  time  in  my  life  I  wanted  to  be 
an  actress.    I  ran  back  and  told  my  chief. 

"  'You  said  you  had  no  ambitions  to  be  an  actress  when, 
you  were  given  work  here,'  she  replied.  'We  will  not  need 
you  after  Saturday.' 

"It  almost  broke  my  heart.  And  before  the  week  was 
over  I  was  crushed,  for  many  of  the  men  advised  me 
against  trying  to  be  an  actress. 

"  'You  can't  walk,'  they  said,  'you're  not  pretty.  You 
have  no  sex  appeal.    You  have  no  chance.' 

"I  didn't  know  what  sex  appeal  meant,  but  I  didn't  know 
why  I  shouldn't  have  it,  if  other  girls  did.  And  I  tried  to 
make  myself  like  Claire  Windsor — until  I  heard  some  one 
say  Claire  Windsor  didn't  have  it  either. 

"Well,  I  was  out  of  a  job  again— and  there  was  only 
one  chance  in  a  thousand  that  I  would  become  an  actress. 
I  had  taken  the  screen  test.  I  had  done  everything  they 
asked  me  to  do;  and  I  had  been  so  intense  about  it  that 
I  forgot  there  was  a  camera  in  front  of  me. 

"Once  again  I  was  in  the  doldrums,  with  all  sails  hang- 
ing limp,  and  wishing  for  an  albatross  to  come  along  and 
break  the  dread  monotony." 

Miss  Lowell  breaks  off  in  her  story. 

"I  was  telling  some  children  about  the  albatross  and  the 
ancient  mariner  just  the  other  day,"  she  says,  "and  they 
didn't  believe  me. 

"You  know  sailors  believe  the  albatross  is  the  soul  of  a 
dead  sea  captain,  and  they  wouldn't  harm  one  if  they  were 
starving,  {Continued  on  fiaee  50) 


e  Have  No 


S"CV 


PPEAL 


By  Y)eiight  Evans 


w 


hat  is  sex  appeal? 

S-sh!  We  are  speaking  strictly 
peal  which  would  get  by  even  in 
Pennsylvania. 


of  sex  ap- 
Ohio  and 


All  we  really  know  about  it  is  that  nine  out  of  every  ten 
have  it,  or  they  wouldn't  be  in  the  movies.  A  motion  pic- 
ture actress  may  win  you  without  a  permanent  wave.  She 
may  even  succeed  with  unplucked  eyebrows.  But  she 
must  have  sex  appeal.  The  box-office  boys  will  accept  no 
substitutes.  I  don't  care  if  said  star  expresses  it  by  wav- 
ing her  mops  of  curls  into  the  camera,  by  palpitating  her 
pearls,  or  by  displaying  a  perfect  understanding  against  a 
backdrop  of  God's  great  outdoors.  She  simply  can't  get 
along  without  it. 

It  used  to  be  called  personality.  But  now  that  the 
directors  are  getting  so  bold  and  taking  the  roofs  off  peo- 
ple's houses  to  let  us  see  how  they  really  live,  it's  called 
sex  appeal.  Today  producers  come  right  out  and  tell  poor 
little  leading  ladies  that  they  can't  use  'em,  because  they 
lack  sex  appeal.  One  ingenue  broke  down  and  cried  and 
said  she  wouldn't  come  back  to  the  casting  office  until 
she  got  some.  She  never  came  back,  so  far  as  I  know. 
It's  a  gift  straight  from  heaven — well,  more  or  less.  Though 
one  or  two  stars  I  know  depend  upon  their  modistes. 

I'd  say  that  when  a  middle-aged  actress  is  chased  from 
tree  to  tree  by  the  villain  and  keeps  her  audience  all  on 
edge  wondering  if  she  is  going  to  trip,  after  they  have 
seen  her  in  the  same  scene  in  a  dozen  other  pictures — that's 
sex  appeal. 

Suppose  we  consider  it  from  the  director's  angle.  Every 
director  has  his  own  formula.  There's  Griffith's,  He  has 
expressed  sex-appeal  in  his  heroines  in  the  same  way  for 
ten  years.  It's  the  celebrated  seduction  scene — it's  in 
every  Griffith  picture.  You  know  the  stuff.  The  Girl,  one 
hand  at  her  heaving  bosom,  the  other,  with  distended  fin- 
gers, clutching  her  quivering  chin,  is  staring  wide-eyed  at 
the  oncoming  Brute.  Lillian  Gish  has  done  this  scene  to 
perfection.  So  have,  with  varying  degrees  of  excellence, 
Mae  Marsh,  Carol  Dempster,  et  al.  Then  the  Griffith 
heroine  has  another  way  of  registering  sex  appeal.  It  is 
performing  a  pirouette,  with  hands  clasped  behind  her,  head 
thrown  back,  and  curls  tossing.   You  recognize  the  pose? 

Before  Cecil  de  Mille  discovered  the  ten  commandments 
he  used  to  play  up  his  heroines'  sex  appeal  by  exhibiting 


them  in  the  bath.  The  de  Mille  bathroom  scene  became 
a  classic.  The  de  Mille  boudoirs  have  also  been  the  scenes 
of  various  expositions  of  sex  appeal.  The  eminent  Cecil  goes 
in  for  orgies,  disguised  as  masquerades,  fetes,  charity  balls, 
and  all  that  sort  of  thing.  Whatever  you  or  the  title- 
writer  wish  to  call  them,  they  give  the  heroine  every  chance 
to  defend  her  right  to  sex  appeal. 

How  many  heroines  have  been  tried  in'  the  balance  and 
found  wanton — well,  anyway,  before  Will  Hays  became  the 
proud  papa  of  the  moving  pictures.  Now,  the  stars  with 
sex  appeal  who  appear  in  those  slightly-spicy  films  go  wrong 
right.  The  censors  have  seen  to  it.  But  there  are  other 
ways  of  proving  that  they  have  sex  appeal.  Sex  appeal 
has,  in  fact,  gone  through  a  purifying  process.  Or,  to  be 
quite  frank  about  it,  it  is,  in  most  pictures  right  now,  as 
synthetic  as  today's  gin. 

The  other  day  I  saw  a  scene  in  which  an  ingenue  was 
shown  in  her  bath.  The  director  evidently  wanted  to  put 
across  her  youth,  her  charm,  and  her  beauty — her  feminine 
allure.  All  he  succeeded  in  putting  across  was  that  a  young 
lady  was  taking  a  bath. 

Other  ingenues  go  in  for  Turkish  trousers,  with  little  or 
no  effect.  A  tiger-skin  doesn't  make  a  vampire.  An  ab- 
breviated bathing-suit  can't  supply  sex  appeal.  One  of  the 
luckier  ladies  appeared  recently  clad  in  Esquimaux  attire, 
leaving  an  impression  upon  her  audiences  that  was  not 
at  all  chilly. 

Corinne  Griffith  in  a  gingham  apron  sends  the  theatre 
thermometer  shooting  upwards.  Another  actress  in  a  hula- 
hula  costume  might  just  as  well  go  back  to  stock.  The 
girls  with  real  sex  appeal,  in  other  words,  don't  work  at  it. 
They  can  get  along  without  the  old  chaise-longue. 

But  this  isn't  getting  anywhere.  What  is  sex  appeal? 
Here  we  have  just  hundreds  and  hundreds  of  letters  asking 
about  it,  and  so  far,  only  echo  has  answered.  Obviously, 
the  thing  to  do  was  to  ask  the  stars  themselves.  Much  as 
we  dreaded  it,  it  was  our  duty.  There  was  the  cautious 
reader  who  wrote,  "I  have  heard  of  this  sex  appeal.  Is 
there  anything  in  it?  I  have  resd  the  grandest  articles  all 
about  the  qualities  which  men  most  admire  in  women,  and 
-.dee  versa.  I  used  to  enjoy  the  movies  before  I  heard 
all  this  talk  about  sex  appeal.   What  is  it?" 

So  we  went  first  to  the  palatial  home  of  Hortense  Helio- 
trope, which  overlooks  Riverside  Drive— overlooks  it  en- 


31 


Q  We  all  hair  our  pen- 
sive moments,  hut  you 
don't  have  yours  while 
Barbara  La  Marr  has 
hers. 


tirely.  Hortense  is  reliably  reputed  to  possess  an  enormous  amount 
of  sex  appeal — her  own  press-agent  says  so.  Evidently  she  had 
not  expected  us  to -call,  for  she  was  attired  in  the  pajama-suit  which 
she  wore  in  her  new  picture,  "Playthings  of  Passion."  She  was 
reclining  on  a  horsehair  sofa.  "Ouch,"  she  said,  by  way  of  greet- 
ing ;  and  got  up  and  reclined  upon  a  bear-skin  rug  instead. 

"Have  you  sex  appeal?"  we  asked  her.  meanwhile  fighting  off 
the  advances  of  her  Great  Dane  dog. 

"Down,  Hamlet — for  the  present,"  she  replied.  Then,  fixing 
us  with  her  great  black  eyes — how  very  black  one  of  them  was,  to 
be  sure — with  their  elaborately  marcelled  lashes,  she  continued: 
"You've  got  a  nerve  asking  me  that,  and  I  don't  think  I'll  stand 
for  it." 

"But,  my  dear  Miss  Helio  " 

.  'That  dog  of  mine,"  she  said  absently,  "has  the  most  awful 
passion  for  interviewers.  Why,  once  when  a  guy  came  up  here 
to  see  me  and  got  fresh  asking  me  questions  Hamlet  didn't  leave 
enough  of  him  to  send  back  to  the  magazine  for  identification. 
And  he  only  asked  me  what  was  the  name  of  my  first  husband." 

It  was  the  same  with  Jasmin  Jones.  This  lovely  little  lady 
modestly  disclaimed  owning  any  such  thing  as  sex  appeal.  "I 
don't,"  declared  Miss  Jones,  "know  what  you  mean.  Besides.  I 
really  don't  think  that's  a  good  line  to  take  with  my  public.  I 
want,"  she  went  on,  her  eyes  shining  with  an  almost  maternal 
light,  "I  want,  more  than  anything,  to  be  popular  with  the  kiddies 
out  there  in  the  audience." 

Confronted  with  such  admirable  sentiments,  what  could  I  do- 
No,  boys  and  girls,  we'll  have  to  figure  this  thing  out  all  by  our 
little  selves.  We'll  get  little  or  no  help  from  our  stars.  It's  one 
of  those  things  they  can't  very  well  discuss  above  a  whisper.  It 
may  be  modesty;  it  may  be  the  censors.  But  it's  their  idea  of 
nothing  to  talk  about— that  is,  for  publication.  In  spite  of  the  lack 
of  co-operation,  we  may  arrive  at  some  conclusions  from  the  capers 
of  the  cut-ups  before  the  camera. 


You  know  as  well  as  I  do  that  so:  appeal  is  t  c  ihbie 
matter  of  a  few  well-distributed  beads.  But  what  is  it. 
anyway? 

Mary  Pickford  isn't  supposed  to  have  it.  She  specializes 
in  the  portrayal  of  youth.  Her  appeal  is  of  pathos,  -wist- 
ful charm — the  appeal  of  childhood.  But  they  call  her 
"America's  Sweetheart." 


sans  shirt — sex  appeal  personified.  Milton  Sills  in  ''The 
Sea  Hawk''  in  the  galley  scenes  was  even  more  scantily 
clad;  but,  so  far  as  I  have  heard,  there  has  been  no  hue  and 
cry  over  Milton's  daring  exposure  of  epidermis.  Sex  appeal! 

I  doubt  if  Mae  Murray  would  admit  that  she  has  com- 
mercialized her  sex  appeal.  If  she  hasn't,  then  neither  has 
Mr.  Ziegf eld's  "Follies."  (Continued  on  page  88.) 


IT 
► 


■  1 


1 


Lillian  Gish  is  another  idol  popularly  acknowl- 
edged to  be  lacking  in  that  commodity  called 
sex  appeal.  Yet  such  cynics  as  James  Branch 
Cabell,  George  Jean  Nathan  and  Joseph  Herges- 
heimer,  all  experts  in  analyzing  feminine  charm, 
have  testified  in  print  to  Lillian's  silversheet 
fascination.  Maybe  Lillian  has  always  had  sex 
appeal,  but  preferred  to  obscure  it  beneath  a 
gossamer  veil  of  spiritual  delicacy.  Did  Duse 
have  sex  appeal? 

Sex  appeal  and  Rudolph  Valentino  seem  to  be 
synonymous.  There  may  be  a  girl  out  in  Moose 
City  who  has  never  written  him  a  fan  letter, 
but  if  there  is  it's  because  she  doesn't  know 
how  to  write.  Husbands,  fathers,  and  other  low 
creatures  couldn't  see  Rudie.  He  cost  them  too 
much  in  postage  stamps.  RudieV  picture  al- 
ways supplants  their  pictures  on  certain  dress- 
ing tables.  Then  came  "Monsieur  Beaucaire," 
and  with  one  low  bow  he  won  the  world.  The 
picture  was  popular  with  men  as  well  as  women — 
even  children  cry  for  it.  Rudie,  in  the  famous 
dressing  room  scene,  appears  in  silk  breeches 


I  Betty  Compson  does 
not  depend  upon  her 
modiste  to  supply 
her  with  lure.  The 
little  old  bus  is  full 
of  it  right  now. 


°i  Colleen  Moore 
:'n  "So  Big"  has 
tke  irresistible 

"it." 


33 


o  American  Girls 


Elly  and  Kate  Bitter  in 
"The  Magic  Ring" 
were  brought  to  Amer- 
ica by  Henry  Savage 
direct  from  the  Royal 
Opera  House,  Budapest. 
One  of  these  girls  has 
raised  the  standard  of 
beauty  very  high,  and 
certainly  Hungary  is 
well  represented  in  the 
contest. 


Mack  Sennett's  Exhibit.  Left  to  right:  Hazel  Williams, 
Claire  Cushman,  Thelma  Hill,  Georqia  Hale,  Andree,  Bay- 
ley  and  Elsie  Tarron.  When  we  say  T-Jiehna'  Hill  comes 
from  Emporia,  Kansas  he  question  of  which  country  fur- 
nishes the  prettiest  hose  %%  \     rters  is  indisputable. 


34 


Have  the  Prettiest  Lees? 


SCREEN  LAND  tackles 
a  difficult  problem 


t  the  start-off  it  would  seem  thai  the  young 
ladies  of  America  have  two  good  argu- 
ments to  stand  on  in  this  discussion,  but 
it  is,  obviously,  a  matter  for  experts  and 
we  are  asking  for  volunteers  who  will  travel  from 
country  to  country  to  carry  on  this  scientific  study. 
When  they  report  we  will  be  glad  to  advise  a 
waiting  world. 


Little  'Marie  Mosquini 
Representing  Mussolini 
Sitting  pretty,  well  aware 
She  can  show  a  lovely  pair. 

— "Shakespeare 


Flora  Le  Breton,  the 
English  beauty,  soon  to 
be  seen  in  "Lass  0' 
Laughter."  She  ac- 
quired the  habit  of 
carrying  the  umbrella 
during  the  London  fogs, 
dontcha  know. 


35 


An  Open  Letter 


01  As  "Madame  Sans  Gene"  Gloria  Swansoii  has  a  rich  opportunity, 
and  iv  hat  a  red  rat;  is  to  a  bull,  so  is  a  rich  opportunity  to  Gloria. 


36 


to  ULORIA 


By  Myron  "Lobel 

Dear  Gloria:  ,../-, 

I ast  month  when  I  was  in  Paris  you  were  making  Madame  Sans 
Gene.  They  were  heralding  that  as  your  first  costume 
^picture.  I  know  that  you  will  make  something  charming 
— ^and  brilliant  out  of  this  romance  of  the  great  Napoleon's 
laundry  woman.  I  know  that  you  are  gifted  in  the  portraying  of 
period  parts  because  I  remember  the  first  time  ever  you  per- 
formed one. 

It  was  four  years  ago.  And  well  I  remember  that  night  when 
you  and  Rudy  Valentino  and  Walter  Hiers  and  Conrad  Nagel  and 
I  gathered  together  after  the  day's  work  was  done  in  the  little  back 
dark  stage  of  the  Lasky  lot  in  Hollywood.    What  a  cast! 

Oh,  the  fun  we  had  over  that  play  of  mine — Benvenuto  Cellini — 
with  its  old  Italian  costumes  and  its  new  American  slang!  You, 
Gloria,  I  remember — in  a  long  trailing  gown  of  gold  brocade,  with 
a  sort  of  golden  doughnut  on  your  high-coiffed  hair.  It  was  a 
costume  that  we  had  picked  up  out  of  scraps  and  bits  of  things 
about  the  studio.  But  you  looked  beautiful  in  it.  Regal.  Every 
inch  a  Florentine  lady  worthy  to  be  the  loved  one  of  the  swagger 
Benvenuto. 

And  Conrad — in  his  golden  wig. 

And  Walter.  Dear  fat,  lovable,  laughable  Walter.  In  those  red 
flannel  tights  and  a  doublet.  How  we  roared  when  he  came  on 
with  a  broadsword  three  sizes  too  big  for  him. 

And  Rudy.  Good  old  Rudy.  That  was  before  his  many  cos- 
tume triumphs.  Before  Blood  and  Sand.  The  Four  Horsemen 
alone  stood  to  his  credit  then.    He  {Continued  on  page  91) 


Gloria  Swanson,  having  con- 
quered this  part  of  the  world, 
ist  now  in  Paris  where  her 
next  film,  "Madame  Sans 
Gene,"  is  nearing  completion. 


WANSON 


Gloria 
Swanson, 
Rudolph 
Valentino, 
Conrad 
Nagel  and  Walter 
Hiers    in  "Benven- 
uto   Cellini."  This 
was    Gloria's  first 
costume  picture. 


37 


ARY  was 


OCX  he  days  of  Mary  PM 


"By  Henry  Thomas 


pT|  ||  N^hey  are  filming  "Cinderella" 
in  Hollywood. 

In  Toronto,  at  Number 
211  University  Avenue,  the 
tourists  are  gazing  curiously  at  Cin- 
derella's home. 

Cinderella's  home,  where  Gladys 
Smith  was  born. 

.  Gladys  Smith !  You  don't  know  her? 

Yes,  you  do.  Mary  Pickford, 
queen  of  motion  pictures,  best  known 
woman  in  the  world. 

Toronto  was  Mary  Pickford's 
home  town.  .  She  was  bom  in  a  sur- 
prisingly tiny,  old-fashioned  brick 
house  on  University  Avenue,  about  half-way  between  Queen 
and  College  Streets.  There  are  box  vines  on  the  window 
ledge,  and  a  mere  two-by-four  lawn  separates  the  house 
from  the  sidewalk.  The  home  is  within  walking  distance 
of  the  City  Hall,  on  the  very  edge  of  Toronto's  foreign 
quarter,  where  Kosher  butcher  shops  and  Italian  grocery 
stores  elbow  one  another  and  where  swarthy  children  frisk 
in  the  streets. 

The  tourists'  booklet  refers  to  the  Pickford  homestead 
as  "small,"  but  it  gives  no  hint  that  the  place  is  as  small 
as  it  really  is.  Actually,  it  looks  more  like  a  doll's  house 
than  a  human,  dwelling.     lust  how  insignificant  are  its 


M  a  g  t  strafe 
Jacob  Cohen 
in  whose  shoe 
store  Mary 
■used  to  play. 


dimensions  Douglas  Fair- 
banks himself  indicated  when, 
after  seeing  the  place  last 
spring  for  the  first  time,  he 
remarked  humorously:  ''Mary 
gave  me  the  impression  that 
the  house  where  she  was  born 
was  larger.  She  herself  was 
surprised  at  its  size.  I  think 
she  believes  it  has  shrunk!" 

In  the  house  next  door 
lives  the  James  P.  Riddle 
family,  lifelong  friends  of 
the  Smiths.  Mrs.  Riddle 
loves  to  talk  of  her  former 
neighbors.  "I  first  saw 
Gladys  Smith — that  is  Mary's 
real  name,  you  know — when 
she  was  only  half  an  hour 
old,"  she  tells,  "and  having 
been  her  next  door  neighbor 
as  well  as  a  girlhood  chum  of 
her  mother — well,  I  guess  I 
ought  to  know  Mary  Pick- 
ford about  as  thoroughly  as 
any  one. 

"She  and  her  mother  paid. 


The  old  home 
and  grew  up 


inhere  a  little  girl  was  horn 
"Sweetheart",  to  ell  the  world. 


i 


IP 


Mary  Pickford  as 
she  looked  a  few 
weeks  ago  when  she 
returned  fro  m 
Europe.  Site  has 
lived  Cinderella, 
and  now  she  is  to 
play  it  all  over 
again. 


38 


a 


ITTLE 

QiPerhaps  you  know  a  youngster  who  shows  the  same  touches  of  genius 


us  a  delightful  visit  just  before  they  sailed  for  Europe,  even 
though  they  were  in  town  only  a  few  hours  and  had  several 
important  engagements  to  fill.  Gladys  and  Lottie  Smith- 
Lottie  is  her  mother's  name,  you  know— are  not  the  kind 
that  forget  old  friends.  Fame  and  money  haven't  turned 
their  heads  in  the  least.  Their  attitude  toward  us  hasn't 
changed  a  bit.  When  they  lived  here  twenty  or  more 
years  ago  we  were  all  just  'folks'  together  and  we  are  still. 

"The  only  difference  I  can  see  in  Mary  and  her  mother 
is  that  now  they  are  very  rich 
whereas  formerly  they  were  very 
poor.  Mary's  father  was  a 
steward  on  one  of  the  Ontario 
lake  steamers.  When  she  was  a 
baby  he  met  with  an  accident 
and  injured  his  head.  He  was 
unable  to  work  for  a  long  time 
and  he  finally  died.  After  that 
the  matter  of  supporting  the 
family  became  a  serious  prob- 
lem for  Lottie. 

"Mary  was  always  different 
from  other  children.  There  was 
something  about  her — I  hardly 
know  how  to  describe  it — that 
set  her  apart  from  the  rest. 
Among  other  things,  I  remem- 
ber how  motherly  she  was.  Yes, 
even  as  a  child  of  five  or  six  she 
was  a  regular  little  mother  to  the 
children  she  played  with." 

Then  she  added:  "Lottie  was  wearing  a  magnificent 
diamond  pin  the  day  they  were  here.  After  I  had  ex- 
pressed my  admiration  of  it,  she  told  me  Mary  gave  it  to 
her  on  her  birthday,  but  that  Mary  never  speaks  of  it  as 
a  diamond  pin.  She  always  refers  to  it  as  the  Tee 
Trust.'  " 

Magistrate  Jacob  Cohen  of  the  Toronto  Police  Courts  is 
another  old  friend  of  the  Smith  family.  Mention  Mary 
Pickford,  and  a  cordial  smile  spreads  over  his  face. 

"To  begin  at  the  beginning,"  he  explains,  "the  Jacob 
Cohen  that  Mary  Pickford — Gladys  Smith,  as  she  was 
then — knew  as  a  child  was  not  yet  a  magistrate.  In  those 
days,  a  score  or  more  of  years  ago,  I  kept  a  shoe  shop  at 
Number  105  Queen  Street  West,  which  was  in  the  same 
neighborhood  where  the  Smiths  lived. 

"Gladys'  father  was  dead  and  the  family,  consisting  of 
the  mother  and  her  three  children,  was  poor,  extremely 
poor.  The  entire  burden  of  supporting  herself  and  the 
children  was  on  Mrs.  Smith's  shoulders.  She  did  it  by 
clerking  in  a  grocery  store — Ryan's  grocery,  which  was 
directly  across  the  street  from  my  shoe  shop. 

"Now  ordinarily  a  mother  with  three  young  children  who 
had  to  put  in  her  days  behind  a  counter  would  find  her 


Did  you  ever  know  any  of  the 
?notion  picture  stars? 

Tell  us  what  kind  of  kids  they 
were  when  they  were  growing  up. 

Write  us  {we  will  pay  you  well)  did  Tommy 
Meighan  ever  pull  your  pigtail  or  did  you  ever 
play  Post  Office  with  Normal' 
Was  he  a  regular  boy  or  a  sissy? 
Was  she  bashful  or  bold? 
Was  he  brave  or  in  the  background? 
Send  your  letters  to: 

The  "Editor,  SCREENLAND 

145  West  57th  St., 
New  York  City. 


hands  full.  But  so  far  as  Mrs.  Smith  was  concerned  she 
had  a  real  helper  in  Gladys.  Although  she  was  only  seven 
or  eight  years  old  at  the  time,  she  looked  after  her  younger 
sister  and  brother  while  her  mother  was  at  work. 

"Naturally  the  three  children  went  frequently  to  Mr. 
Ryan's  store  to  be  with  their  mother.  In  fact,  they  were 
there  a  big  part  of  the  time.  Mrs.  Smith  used  to  keep  a 
sharp  eye  on  them  to  see  they  didn't  get  into  mischief." 
he  continues,  "but  often  they  would  give  her  the  slip  and 

disappear.  When  that  hap- 
pened, as  likely  as  not  she 
would  find  them  in  my  shop. 

"Yes,  I  liked  to  have  the 
Smith  children  about.  For  one 
thing  they  were  always  such 
neatly  dressed  youngsters, 
Gladys  particularly.  'Neat  as  a 
pin'  describes  her  exactly.  Neat- 
ness was  a  regular  passion  with 
her,  even  then.  But  that  her 
little  dresses  and  hats  and  shoes 
always  looked  so  trim  was  due 
largely  to  Mrs.  Smith's  unselfish 
willingness  to  make  sacrifices 
for  her  children.  Mrs.  Smith  de- 
served great  credit.  She  liter- 
ally lived  for  Gladys,  Lottie  and 
Jack;  her  only  ambition  was 
to  make  them  happy. 

"But,  after  all,  Gladys  seemed 
to  have  been  her  mother's  fav- 
orite. Mrs.  Smith  could  never  do  too  much  for  her.  I  of- 
ten told  her  I  was  afraid  she  would  spoil  the  child.  How- 
ever, if  the  mother  made  sacrifices  for  her  daughter  in 
those  difficult  days  the  present  Mary  Pickford  has  more 
than  repaid  her. 

"Mary  Pickford  was  a  born  actress — and  I  firmly  be- 
lieve that  all  real  actors  and  actresses  are  born  rather  than 
made,"  continues  the  magistrate.  "I  recognized  her  natural 
bent  for  acting  in  the  very  beginning.  Indeed,  there  were 
many  people  in  our  neighborhood  who  did,  and  the  child's 
unmistakable  talent  used  to  be  a  topic  of  frequent  dis- 
cussion among  us.  That  was  before  she  had  ever  appeared 
publicly  in  juvenile  roles,  of  course. 

"But  when  I  say  Mary  was  a  born  actress  I  mean  espe- 
cially that  she  was  a  born  mimjic.  She  did  it  cleverly,  con- 
stantly, and  entirely  unconsciously.  The  faculty  was  purely 
instinctive  with  her,  and  it  expressed  itself  as  naturally  and 
freely  as  the  shining  of  the  sun. 

"She  indulged  her  instinct  whenever  and  wherever  the 
spirit  moved  her  and  it  did  that  many,  many  times  when 
she  was  either  with  her  mother  in  Mr.  Ryan's  grocery  or 
happened  to  be  paying  me  a  visit  across  the  street.  It 
would  have  been  strange  indeed    (Continued  on  page  93) 


creenplays 


Best  Performances  of  the  Month  : 

GLENN  HUNTER  in 

"The  Silent  Watcher" 
BESSIE  LOVE  in 

"The  Silent  Watcher" 
■  TOM  MOORE  in 

•'  Dangerous  Money" 

Best  Screenplays  oj  the  Month: 

"The  Silent  Watcher" 
Water" 


M  iter  dedicating  its  little  self 
/NV     for  years  and  years  to  the 
/    \\    glorification  of  the  bold, 
brave    hero,,  the  screen 
has  at  last  decided  to  give  a  thought, 
or  a  reel  or  two,  to  the  under-dog. 
The  Silent  Watcher  has  a  hero  who 
is  just  an  average,  commonplace,  ma 
young  man — one  of  the  many  to  whom  < 
seriously  tenders  his  latest  production 


.Glenn  Hunter  and 
Jessie  Love  in  "The 
Silent  Watcher/1 
doing  the  best 


O],  Antonio  Moreno  and  Helene  Chadivick  in  "The  Border  Legion," 
one  of  Zane  Grey's  pretty  little  orgies  of  the  great  ivest. 

ddle-class  American  If  Lloyd's  The  Sea  Hawk  was  a  super-production,  then 
irector  Frank  Lloyd     I  am  at  a  loss  as  to  how  to  classify  The  Silent  Watcher. 

It  wasn't  presented  in  a  great,  big,  special  theatre;  it  had 
no  prologue;  it  lacked  the  widespread  pub- 
licity campaigns  which  sponsored  the  Saba- 
tini  romance.  But  it  manages  to  be,  all  by 
itself,  a  very  fine  picture.  In  its  first  few 
quiet  reels  it  is  very  nearly  great. 

That  involves  a  lot  of  explanation.  The 
first  reels  concern  themselves  with  the  home- 
ife  of  two  ordinary  young  lovers  who  be- 
have so  naturally  that  their  counterparts  in 
the  audience  probably  won't  recognize  them- 
selves. It  is  later  on  that  the  picture  gets 
all  excited  and  melodramatic.  But  the  young 
lovers  continue  to  be  themselves,  convincing 
you  that  the  melodrama  might  happen  to  all 
of  us.  too. 

The  plot — yes,  it  has  a  plot,  but 
don't  let  that  prejudice  you — 
can't  be  told  without  risking  your 
enjoyment  of  The  Silent  Watcher; 
and  I  wouldn't  do  that  for  any- 
thing. I  can,  however,  let  you  in 
on  the  fact  that  although  the  cast 
is  not  labelled  all-star,  it  actually 
is,  with  Glenn  Hunter  and  Bessie 
Love  doing  the  best  work  of 
their  careers — and  I  am  not  for- 
getting Glenn's  Merton  when  I  say 
that;   or  Bessie's  oerformance  in 


Those  Who  Dance.  Hunter  showed  signs  for  a  while  of 
letting  Merton  of  the  Movies  keep  him  from  becoming  a 
bigger  and  a  better  actor.  But  now— why,  he  steps  right 
out  and  chews  up  the  scenery.  I  don't  know  any  other 
young  man  who  could  keep  your  sympathy  through  all  the 
harrowing  things  that  happen  to  him.  He  isn't  ridiculous 
even  in  his  night-shirt. 

And  Bessie — well,  she's  so  perfect  as  a  skeptical  young 
wife  that  you  want  to  shake  her  at  times.  And  the  little 
Love  usually  inspires  only  the  more  tender  emotions.  Then 
there  is  Hobart  Bosworth,  giving  a  finely  repressed  por- 
trait; and  the  luscious  Alma  Bennett  as  a  musical  comedy 
queen;  and  DeWitt  Jennings,  our  meanest  detective,  sneer- 
ing as  only  he  can  sneer.  I  like  to  think  that  this,  not 
The  Sea  Hawk,  is  what  Frank  Lloyd  really  considers  his 
super-production.    As  far  as  I  am  concerned,  it  is. 

A  BOLD,  BAD  PICTURE 

* 

In  striking  contrast,  if  you  know  what  I  mean,  we  have 
The  Border  Legion,  one  of  Zane  Grey's  pretty  little 
orgies  of  the  great  west.  This,  boys  and  girls,  is  a  rever- 
sion to  the  primitive,  before  the  movies  began  to  crawl; 
when,  in  fact,  censors  were  still  swinging  from  limb  to 
limb  and  uttering  guttural  cries.  The  Border  Legion  actu- 
ally has  titles  along  these- lines:  "Go,  girl,  before  it  is  too 
late." 

I  am  the^st  fan  in  the  world  to  object  to  a  good,  rous- 
ing, old-fashioned  western,  at  times;  I  was  sorry  to  see 


<\Renee  Adoree  is  piquant  and 
pretty  as  the  girl  in  "The  Ban- 
dolero," a  story  of  old  Madrid, 


<\Manual  Granada  and  Renee  Adoree  in  "The 
Bandolero."  "It  is  Manuel  Granada,  how- 
ever, uuho  leaves  the  most  satisfactory  im- 
pression." 


41 


■ 


Bill  Hart  leave  the  Jot.  ^nd  1  am  thinking  of  forming  a 
committee  to  appoint  Bill's  successor — but  I  prefer  a  little 
sweetness  and  light  mixed  "with  my  murders.    The  Border 
Legion  has  plenty  of  ^murders,  but  little  or  no  sweetness 
and  light.    It  is,  if  you  must  know  the  truth,  a  protracted 
attempt  on  the  part  of  at  least  six  cow-gentlemen  to  "get" 
Helene  Chadwick.     While  Helene  cowers  in  the  corner 
Rockdiffe  Fellowes  and  Antonio  Moreno  and  other 
less  important  he-men  cut  the  ^cyards  .for  her, -and  fight 
for  her,  with  lots  of  leers  thrown  in.    Inasmuch  as 
the  electrics  outside  have  already  appointed  Moreno 
as  Miss  Chadwick's  co-star,  there  is  practically  no  sus- 
pense to  speak  of.  And — not  that  it  matters— but  I 
want  to  go  on  record  as  saying  that  this  is  the  only 
picture  I  have  seen  in  months  that  I  would  like  to 
set  the  censors'  dogs  on. 


BILL  DE 


ID'S  EYEBROWS 


"|n»i  vervthing  else  in  the  first  four  chapters  of  a  new 
■Ej  western  serial,  The  Riddle  Rider,  pales  into  insignifi- 
cance beside  William  Desmond's  eyebrows.  They  are  the 
most  magnificent  set  of  eyebrows  I 

have  seen  since  the  old  Sennett  days.  -  -  — 

Which  is  not  to  say  that  Mr.  Des- 
mond is  funny.  He  has  much  on 
his  mind,  and  his  eyebrows,  as  the 
dual-role  hero  of  this  chapter- 
thriller. 

While  I  am  not  contemplating 
leaving  the  dear  home  duties  flat  to 
rush  to  view  the  next  chapters  of 
The  Riddle  Rider,  I  am  sure  there 
are  others  who  will.  After  all, 
there  is  some  good  riding,  Helen 
Holmes  as  the  villainess — and  there 
are  always  those  eyebrows. 


Q  Norma  Tai- 
nt a d g e  in 
"The  Only 
W  o  m  a  n." 
She  blazes 
with  ability. 


C\Norma  Talmadge  and  Win- 
ters Hail,  ivho  plays  the  pari 
of  her  father  in  "The  Only 
Woman.'' 


€{Eugene  O'Brien  as  the  nvorthless  husband  redeems 
himself  in  the  eyes  of  Norma. 

SPANISH  LOVE— AND  HATE 

F  all  the  directors  who  went  abroad  to  absorb  foreign  atmosphere 
I  think  Tom  Terriss  has  had  the  best  results.  He  went  all  the 
way  to  Spain  to  film  The  Bandolero,  and  while  he  has  not  produced 
any  Zuloaga  portraits  he  has  somehow  ground  into  his  cameras  what 
must  be  the  breath  of  Spain — certainly  it  isn't  Hollywood,  or  Fort  Lee. 
Anyway,  it  is  atmosphere,  and  that's  what  he  went  to  get.  The  story 
is  Spanish  and  the  players,  mostly  from  Broadway,  seem  to  be  Spanish, 
too;  and  it  isn't  just  their  shawls  and  pigtails  and  combs,  either. 
Gustave  von  Seyffertitz  is  so  good  as  a  "Spanish  grandee"  that  he 
could  very  easily  have  been  put  over  as  a  native  actor.  Little  Renee 
Adoree  is  piquant  and  pretty  as  the  girl;  Rita  Rossi  st?+uesquely  per- 
sonable as  the  other  girl;  and  Pedro  de  Cordoba  is,  o.  lajajfrse,  right  at 
home. 


\ 


Q  Mary  Astor,  Hope  Hampton  and  Harrison 
Ford  in  "The  Price  of  a  Party.'' 


a  gal  worth  fighting  for.  There  are 
two' fathers  in  this  picture,  and  J 
really  don't  know  which  one  made 
me  laugh  the  heartier.  The  standard 
movie  mothers  have  been  kidded 
almost  off  the  screen.  Let's  take  a 
crack  at  the  portly  papas  who  are 
always  marrying  off  their  beautiful 
daughters  to  save  their  own  1  onor 
and  avoirdupois. 

WITHOUT  MUSIC 

Tf  didn't  know  when  I  went  to  see  a 
private  screening  of  The  Ma- 
donna of  the  Streets  that  Milton  Sills 
had  purchased  a  Rolls-Royce  car. 
But  I  got  that  general  impression,  if 
you  follow  me.  He  acted  just  that 
way.  When,  as  a  fighting  parson  of 
the  London  slums,  he  appears  with 
a  potted  lily  in  his  hand  to  brighten 
Nazimova's  room,  I  felt  that  some- 
thing was  the  matter.  Of  course,  it 
would  take  a  very  excellent  actor  to 
be  convincing  in  a  scene  like  that. 
But  Mr.  Sills  didn't  seem  to  have  his 
mind  on  his  work.  He  must  have 
been  thinking  of  that  bright  and 
shiny  new  "Rolls,"  as  we  call  them 


It  is  Manuel  Granada,  however,  who  leaves  the  most  satisfac- 
tory impression.  Here,  again,  was  a  chance  for  the  publicity 
boys  to  announce  a  newcomer— a  real  matador  of  Madrid. 
Granada  is  handsome  and  he  is  distinguished;  so  unconscious 
of  the  camera  that  I  couldn't  believe  he  had  ever  been  a  striv- 
ing extra.  He  is  back  in  Hollywood  now;  and  God  help  him. 
Some  one,  possibly  Mr.  Terriss,  deserves  congratulation;  for  it 
must  be  hard  to  make  a  picture  like  The  Bandolero  look  like 
anything  except  a  masquerade. 

THE  ONLY  WOMAN 

As  there  are  a  few  million  people  who  agree  that  Norma 
Talmadge  lives  up  to  the  title,  there  -will  doubtless  be- 
loud  and  prolonged  applause  occasioned  by  her  latest  picture. 
And  why  not?  Of  course,  if  you  go  with  your  mind  made  up 
beforehand  to  hoot  or  hiss  you  will  find  enough  to  occupy  you. 
for  it  is  all  old,  old  stuff.  But  it  is  old  stuff  all  dressed  up. 
and  so  well  dressed  that  at  times  you  will  have  difficulty  in 
recognizing  it. 

Yes— Norma  marries  a  worthless  millionaire's  son— it  should 
be  the  other  way  around — but  anyway — to  save  her  father  from 
wiping  out  his  speculations  and  his  brains  at  the  same  time. 
She  guarantees  to  reform  him— -no,  no,  not  her  father — and 
does  so,  though  it  costs  her  much  peace  of  mind,  a  perfectly 
lovely  marcel,  and— almost— her  honor.  You  know,  for  in- 
stance, that  one  of  the  crew  of  the  yacht  is  going  to  bide  his 
time  and  try  to  seize  the  heroine;  and  when  they  run  into  that 
"bad  blow"  you  realize  that  there  has  to  be  a  struggle.  But 
somehow  or  other,  there  is  suspense  and  thrill  throughout.  The 
waves  run  high,  and  so  does  the  excitement.  Eugene  O'Brien 
as  the  husband  thwarts  the  hefty  sailor  and  pitches  him  over- 
board.   And  then — but  you  have  guessed  the  rest  already. 

Norma  has  never  looked  more  beautiful;   she  blazes  with 
ability,  jewels,  and  golden  gowns;  and  makes  the  only  woman 


(\Alta  Nazimova  in  "The  Madonna  of 
the  Streets.'' 


(\Bcbc  Daniels  and 
Tom  Moore  in  "Dan- 
gerous Money."  Like 
a  good,  home-cooked 
dinner  after  a  dressed 
up  disk  with  o. 
French  name. 


— oil,  do  we? — waiting  for  him  outside  the  studio  gates. 

It  may  be  I  do  our  dear  friend  Mr.  Sills  a  grave  injus- 
tice. Perhaps  he  fancied  himself  as  the  little  savior  of 
the  slums  even  less  than  I  did.  But  with  a  Rolls-Royce 
waiting  he  isn't  apt  to  admit  it.  I  don't  own  even  a 
flivver,  so  I  am.  It  makes  it  awfully  easy  for  me.  Ex- 
pensive cars  do  complicate  things  so,  don't  you  think? 
Anyway,  all  the  official  opinions  up  at  the  office  which 
issued  Nazimova's  return  photodrama  coincided.  The  Ma- 
donna, they  all  said,  was  one  of  those  100%  pictures — one 
of  the  fewer  and  better — I  wish  it  was  true  about  the 
"fewer."  And  when  I  said  as  I  was  leaving  the  projection 
room  that  to  my  mind  The  Madonna  of  the  Streets  was 
an  even  bigger  howl  than  the  other  laugh-fest  of  the 
month,  Hot  Water,  I  was  informed  frostily  that  a  critic 
shouldn't  see  a  film  in  a  projection  room  where  there  was 
no  music,  no  lighting  effects,  and  no  atmosphere,  save  that 
provided  by  the  black  cigars  of  the  semi-executives.  If 
I  had  felt  that  way  I  could  have  answered  them  right  back 
that  I  had  seen  Tol'able  David  in  a  dismal  projection,  room 
and  cried  tears  of  pure  joy,  leaving  to  tell  the  world,  or 
that  part  of  it  which  would  listen,  that  Dick  had  made 
a  great  picture.  But  I  didn't  want  to  hurt  their  feelings. 
I  do  so  want  to  help  Mr.  Sills  to  keep  up  that  motor.  I 
thought  Nazimova  in  her  own  Salome  was  a  wow,  a  knock- 
out, and  a  bird.  It  may  have  been  a  classic,  but  I  loved 
it.  Nazimova  stood  for  something.  The  trouble  was  that 
a  lot  of  people  wouldn't  stand-  for  her.  So  she  went  away 
for  a  while.  Then  she  came  back.  And  while  I  wish  I 
could  get  up  on  a  chair  and  lead  the  cheering  for  her  return, 
I  can't  do  it  and  retain  my  membership  in  the  Girls'  Scouts. 
And  I  want  to  be  in  their  parade.  Alia  is  great — or  was. 
She  may  be  still.  But  not  in  this  picture.  The  story  is 
The  Christian — revamped.    My  word,  what  that  poor  man 


has  gone  through!     (I  love  libels  myself,  but  Screenland 
has  outgrown  them;  so  perhaps  I'd  better  add  that  The 
Madonna  is  not  really  The  Christian  warmed  over,  but  a 
W.  B.  Maxwell  tale.    They  have  many  common  things  in 
common,  that's  all.)    Nazimova  gives  a  clean  performance 
— and  that's  the  true,  as  Potash  or  Perlmutter  would  avow.. 
She  is  shown  by  Director  Edwin  Carewe  about  to  enter 
her  bath,  and  about  to  leave  her  bath.    I  never  saw  any 
Sennett  girl  so  wet.     She  does  it  all  to  win  Milton  and 
his  money.     Successful,  she  pulls  the  old  stuff  and  really 
falls  in  love  with  him.    And  then — but  who  am  I  to  finish 
this  for  you?    See  for  yourself.    At  first  Nazimova  seems 
to  be  impersonating  Mae  Murray.    Then  she  has  a  moment 
or  two  of  real  emotion, 
and  not  when  she  gets  the 
lily,     either.      But  the 
shortcomings  of  the  story 
keep  her  from  exhibiting 
those   talents    which  she 
showed  us  in  Revelation 
and  Salome.    I'm  giving 
her    the   benefit   of  the 
doubt  because  the  direc- 
tion is  of  the  old,  obvious 
sort  which  insults  you  by 
diagramming  scenes  which 
are  bad  enough  without 
blue-prints. 

Mr.  Sills  gives  another 
of  his  synthetic  perform- 
ances. He  has  acquired  a 
certain  gesture  which  he 
overworks  throughout  this 
photoplay.'     It  is  a 


44 


broad,  sweeping  gesture  which  is  used  on  many  occasions.  Per- 
haps he  is  practicing  it  to  use  when  he  says,  "Home,  James." 

MORE  DARN  FUN! 

I don't  really  prefer  corn  beef  and  cabbage  to  caviar.  But  I 
would  rather  have  the  real  thing,  even  if  it's  cheap,  than  a 
pretentious  imitation.  And  Dangerous  Money  is  just  like  a 
good,  home-cooked  dinner  after  a  dressed-up  dish  with  a 
French  name.  I  don't  know  why,  but  I  liked  it  better  than 
any  picture  I  saw  for  this  month.  Maybe  I  liked  it  because 
Tom  Moore  is  the  leading  man;  because  as  the  belligerent 
young  Irish  lover  of  the  high-hat  heroine  he  orders  beer  when 
he  can  have  Moselle  and  says  when  he  sits  on  a  Pekingese 
dog,  "That  has  been  sat  on  before.    Look  at  its  face." 

Somehow  it  doesn't  sound  so  funny  when  I  tell  it.    But  if 
you  don't  fall  for  Tom,  who,  by  the  way,  is  never  called 
"Tommy,"  you're  a  better  man  than  I  am — don't  go  in.  Bebe 
Daniels  is  there,  too — incidentally,  it  is  her  picture — her  first 
starring  picture  for  Paramount.    And  in  spite  of  the  fact 
that  Bebe  has  her  name  in  electrics  on  Broadway  for 
the  first  time,  she  proves  she  is  a  good  scout  and  a  good 
actress  as  well  as  a  beauty  by  just  being  herself  and  re- 
fusing to  "act."    Frank  .Tuttle,  the  director,  Tom  and 
Bebe  give  good  imitations  of  three  young  people  having 
a  whale  of  a  time — not  caring  if  they  collect  their  salaries 
or  not.    Proving,  no  doubt,  they  are  all  good  troupers. 

Just  a  simple  story — sometimes  very  simple.  Just  the 
wayward  romance  of  two  stubborn  kids.  But  somebody — 
scenarioist,  director,  star — has  kept  the  tongue-in-the-cheek 
all  the  time,  never  permitting  even  an  Italian  prince  or  a 
fire  scene  to  subdue  the  old  sense  of  humor.  And  if  that 
isn't  an  achievement,  I'd  like 
to  know  what  it  is. 

Bebe,  here's  to  you.  Keep 
it  up,  kid— listen  to  grandma 
and  your  director,  and  never 
grow  up.  And  hey — Bebe — 
if  I  were  you,  when  I  said  my 
prayers  at  night,  I'd  ask  Mr. 
Lasky  to  let  you  have  Tom 
Moore  opposite  you  again. 


Q  Harold  Lloyd  and  Josephine  Crowell  in  "Hot 
Water."    //  is  short,  smart  and  snappy. 


TO  HELL  WITH  DANTE 

no — don't  misunderstand.  I'm  only  quoting.  Out- 
side the  theatre  in  Manhattan  where  this  picture  played 
was  blazoned:  "Thru  Hell  with  Dante  on  the  Road  to 
Happiness."    So  of  course  we  all  went  in.   Didn't  you? 

I  don't  know  whether  to  say  this  is  a  great  cold-weather 
feature  or  not.  But  I  have  it  on  good  authority  that  it  is 
hot  stuff.  Fox  has,  as  usual,  made  the  most  of  the  material 
at  hand;  and  anything  that  Dante  left  out  was  written  or 
writhed  in.  There  are  scores  of 
snappy  tormented  souls  being 
tossed  about  by  the  cutest  little 
devils.  Everybody,  it  seemed, 
went  to — er,  that  is — well,  Hell. 
We're  talking  about  it,  aren't  we? 
Nobody,  I  regret  to  say,  had  a 
good  time.  All  of  the  musical- 
comedy  ideas  about  hades  are 
shattered.  Very  few  would  care 
to  pack  up  their  sins  and  go  to 
the  devil  after  witnessing  Mr. 
Fox's  expose  of  that  fiery  gentle- 
man's personal  apartments — not 
even  with  Cleopatra  present. 

There  is  another  candidate  here 
for  the  title  of  the  meanest  man 
in  the  •  world.  Ralph  Lewis, 
mind  you,  refuses  to  subscribe  to. 
orphans'  asylums,  to  improve  ten- 
ements, or  even  to  help  out  good 
old  Joseph  Swickard  in  an  hour 
of  need.  So  Swickard — remem- 
ber him  as  the  courtly  Desnoyers 
of  The  Four  Horsemen? — pre- 
sents him  with  a  copy  of  the  In- 
ferno to  get  even  with  him,  and 
with  Dante.  And  then  the  fun 
begins.     There  are  genuinely  in- 


OL "Dante's  Inferno"  is  good  entertainment. 


45 


le-restmg  scenes  in  Henry  Otto's  cinema 
•conception  of  the  devil's  domain;  in  fact, 
Dante's  Inferno  is  good,  if  uneven,  enter- 
tainment. 

By  the  way,  the  actor  who  plays  Dante 
stalks  about  his  inferno  with  a  rather  uneasy 
expression.  I  wonder  what  his  expression 
would  have  been  if  he  had  wandered  into 
the  modern  portion  of  the  story?  But  as  I 
was  saying,  there  is  every  excuse  in  the 
world,  or  the  nether  regions,  for  the  some- 
what Sennettesque  lady-souls  who  pose  pic- 
turesquely when  Mr.  Dante  isn't  looking. 


IN  HOT  WATER  WITH  HAROLD 

s  there  is  no  photoplay  of  the  frozen 
north  with  which  to  cool  our  fevered 
optics,  we  might  as  well  remain  par-boiled 
and  laugh  it  off  with  Harold  Lloyd. 

Harold  has  certainly  done  right  by  me 
with  Hot  Water.  Well,  of  course  I  don't 
claim  to  be  entirely  responsible  for  this  lat- 
est picture  of  his;  but  I  didn't  like  Girl  Shy 
and  came  right  out  and  said  so.  No;  he 
didn't  send  me  a  box  of  California  oranges. 
He  just  gave  me  a  reproachful  look,  when 
he  was  in  New  York  not  so  long  ago,  and 
said  he  hoped  I'd  like  his  new  comedy, 
Hot  Water,  a  little  better.  He  probably 
meant  he  hoped  I'd  hate  it  and  say  so;  be- 
cause Girl  Shy,  contrary  to  my  expressed 
aversion,  simply  cleaned  up — played  weeks 
and  weeks  on  the  Main  Stem,  as  every  New 
Yorker  from  the  middle-west  loves  to  call 
Broadway,  and  is  still  standing  'em  up  all 
over  the  country.  Naturally,  Harold  val- 
ues my  opinion. 

I'm  sorry,  Mr.  Lloyd;  but  I  really  liked 
Hot  Water.  It's  your  best  since  Safety 
Last — it's  short,  smart  and  snappy.  And 
your  own  characterization  of  a  helpless 
young  husband  among  the  in-laws,  sketched 
in  a  few  sure  strokes,  is  a  darn  sight  more 
likeable  and  human  than  the  long-drawn-out 
oil  painting  you  gave  us  of  the  girl-shy  hero. 
Your  adventure  with  your  first  flivver  could 
happen  to  any  newly-spliced  youngsters;  is 
happening  right  now;  and  they  won't  mind 
laughing  with  you  at  their  own  caricatures. 
They  will,  in  fact,  be  flattered.  Every  girl 
would  like  to  look  like  Jobyna  Ralston — eh, 
girls?  And  some — or  should  I  say  a  very 
few? — young  men  are  going  to  see  them- 
selves in  Harold's  regals  demonstrating  that 
a  mother-in-law's  place  is  in  the  home — her 
own. 

But  it  is  not  purely  as  propaganda  that 
Hot  Water  is  designed.  It's  all  in  fun.  It  has  all  the 
flavor  of  the  old  Lloyd  pictures— such  as  A  Sailor-Made 
Man;  and  some  of  the  spontaneity  which  has  been  sadly 
lacking  in  the  later  Lloydisms.  And  it  has  the  first  intelli- 
gent turkey  I  have  ever  seen  off  a  Thanksgiving  dinner- 
table.  Mack  Sennett  will  doubtless  see  and  sign  it  for 
a  series  of  stellar  roles. 

Well,  Harold,  the  laugh  may  be  -on  me.  And  then  again, 
when  you  think  of  all  the  money  Girl  Sky  made,  after  I 


(\Gloria    Sivanson    and    Eclilcn    Sayer    in    "Her  Love 
Story."    Gloria  gives  her  part  life,  pathos  and  charm. 


said  those  mean  things  about  it- 
Ha-ha,  Harold. 


-well. 


:>e  on  you. 


DEAR  OLD  DEBURAU 

If  we  put  our  bobbed  heads  together,  you  and  I  might  be 
able  to  think  up  a  few  actors  we"  would  like  to  see 
portray  the  roles  of  Deburau  and  Camille.  And  it  is  a 
pretty  safe  bet  that  we  would  never  hir  on  Monte  Blue 
and  Marie  Prevost  for  said  roles. 


46 


(\Ricardo  Cortez,  Vera 
Reynolds,  Rod  La 
Rocque  and  Robert 
Edeson  in  "Feet  of 
Clay." 


But  even  if  we  kept  our  heads  together  until  it  was  time 
to  go  to  the  barber's  for  a  new  shingle,  it  is  doubtful  if 
we  would  think  up  two  troupers  who  would  play  the  parts 
so  sincerely  as  those  two  aforesaid  and  above-mentioned 
young  persons.  Monte  and  Marie  are  a  great  team;  and 
they  give  themselves  gallantly  to  the  cause  of  immortaliz- 
ing Deburau  in  the  gelatines. 

I  am  not  one  of  those  who  thinks  that  every  play  put 
on  by  David  Belasco  is  a  masterpiece  or  a  work  of  genius. 
But  Deburau  was  a  very  nice,  well-ordered  drama;  and  I 
liked  Lionel  Atwill  in  the  title  role.  When  Warner  Brothers 
bought  it  for  the  screen  it  was  one  of  those  occasions  for 
mumblings  and  head-shakings.  I  saw  no  cause  for  alarm. 
Suppose  Deburau  was,  massacred,  out  there  on  a  movie  lot? 
I  would  be  in  on  the  holiday. 

And  I  still  maintain  that  there  was  no  occasion  for  hue- 
and-cry.  Deburau,  a  nice  drama,  so  remains  upon  the 
screen.  It  has  received  intelligent  and  painstaking  treat- 
ment; and  if  it  emerges  a  somewhat  uninspired  photoplay, 
it  is  not  the  fault  of  the  hard-working  co-stars. 

After  all,  why  shouldn't  Marie  Prevost  play  Camille? 
Marie  is  French.  Marie  is  the  outstanding  actress  of  co- 
cottes  on  the  screen.  She  is  inimitable.  She  doesn't  seem 
quite  her  usual  pert  and  piquant  self  with  her  hair  slicked 
back  and  her  expressive  twinkle  turned  off ;  but  all  the  more 
credit  to  the  child  that  she  made  Camille,  if  not  a  glamor- 
ous lady,  at  least  a  pathetic  and  plausible  heroine.  We 
want  our  Camilles  to  be  lily-like  and  languorous.  Maybe 


she  wasn't.  Maybe  she  looked  like 
Marie.     But   whether  you  ap- 
prove of  Marie  or  protest,  you 
must  admit  she  made  a  good  fight. 
So  did  Monte.    Young  Mr.  Blue  gave  his 
•  best  to  Deburau;  and  in  at  least  two  scenes  he 
presents  an  impressive  and  poignant  portrait. 
His  Deburau  of  later  days  is  an  honest  effort, 
and  deserves  applause.     Shudders  from  Sacha 
Guitry,  Deburau' s  original  parent?    Perhaps.    But  I  think 
you  will  be  rather  proud  of  Monte  and  Marie. 

GLORIA  AGAIN 

Speaking  of  sincere  performances,  here's  another.  Add 
to  your  list  of  remarkably  versatile  actresses — how  many 
have  you  now,  two? — none  other  than  Gloria  Swanson,  who 
offers  Her  Love  Story  as  proof.  Following  Manhandled, 
this  Mary  Roberts  Rinehart  story  fails  to  keep  up  the  pace 
Miss  Swanson  set  for  herself.  It's  just  a  nice  picture— oh, 
very  well  upholstered  in  the  usual  Dwan  fashion,  and  packed 
with  talent — but  nothing  to  stand  in  line  to  see. 

However,  it  has  Gloria — a  new  Gloria.  Like  Valentino. 
Gloria  is  a  film  phenomenon.  The  camera  gives  her  a 
unique  glamor  and  a  positively  thrilling  personality  which 
invests  any  picture  in  which  she  appears  with  witchery. 
Her  Love  Story  is  no  exception.  A  sob-sister  part — and 
Gloria  gives  it  life;  pathos;  charm.  I  have  never  seen  her 
so  sincere  as  in  those  scenes  with  her  baby.  She  was  moth- 
erhood incarnate. 

If  you  like  to  see  her  do  her  tricks  you  won't  like  this 
Gloria.  And  this  one  isn't  Exhibit  A.  But  as  an  indication 
that  the  screen  is  rapidly  developing  another  actress  of 
actual  power  and  depth,  I  hand  to  you  on  behalf  of  Messrs. 
Lasky  and  Zukor — who  will,  I  am  sure,  be  deeply  grateful 
for  the  service — Her  Love  Story. 

Did  you  say  something,  Mr.  Lasky?  Oh,  yes — while  I 
am  broadcasting  I  am  requested  to  add  that  Miss  Swan- 
son's  next  picture  will  be  The  Wages  of  Virtue. 


47 


EVIEWS 


in 


3 


RIEF 


B}  Martin  B.  T)kkstein 


C[  Gladys  Hulette 
From   Powder  R 


WELCOME  STRANGER  —  Pro- 
ducers Dist,  Corp. — Welcome 
Stranger  made  a  mighty  fine 
play,  and  it  was  one  of  the  out- 
standing successes  of  a  theatri- 
cal season  not  so  long  ago.  It 
is  no  less  an  outstanding  suc- 
cess of  the  current  season  in 
the  cinema.  ,  With  Dore  David- 
son in  the  role  which  George 
Sidney  made  famous  on  the 
stage,  the  film  version  retains  all 
the  homely  appeal,  the  touch- 
ing pathos  and  the  wholesome 
comedy  which  centered  around 

the  character  of  Isador  Solomon  in  the  original  produc- 
tion. -  . 

However,  there  is  one  thing  in  Welcome  Stranger  as 
a  screenplay  which  is  a  little  beyond  our  usually  uncriti- 
cal comprehension.  And  that  is  the  interpolation  of 
what  appears  to  be  totally  irrelevant  business — Christian 
Science.  There  was  no  mention  of  Science  in  the  play 
as  Aaron  Hoffman  wrote  it,  and  there  seems  to  be  no 
crying  need  for  the  Science  influence  in  the  picture.-  It 
all  has  a  tendency  to  cloak  a  perfectly  good  story  in 
the  shrouds  of  propaganda.  In  that,  the  screen  version 
of  Welcome  Stranger  evinces  its  single  weakness.  We'll 
concede  Director  James  Young  his  point,  though,  and 
admit  that  Christian  Science  with  its  theory  of  universal 
love  and  good  will  might  have  had  something  to  do  with 
Isador  Solomon's  tolerance  of  his  persecutors.  Florence 
Vidor  plays  Mary  Clark  and  Virginia  Browne  Faire  is 
seen  as  Essie  Solomon.  William  V.  Mong  also  contrib- 
utes an  excellent  performance  in  the  role  of  Clem  Beemis. 

THE  GO-GETTERS — F.  B.  0.— After  The  Telephone  Girl 
series,  one  would  naturally  expect  a  sequel  in  the  shape 
of  Tillie,  the  Telegrapher  or  the  Romance  of  Radio  Rose. 
Thus,  we  have  The  Go-Getters,  a  really  delightful  series 
of  two-reel  railroad  yarns  with  Alberta  Vaughn  in  the 
role  of  Peggy  Davis,  telegraph  operator,  and  pretty 
enough  to  knock  even  the  fireman  of  the  Inglewood  local 
for  a  row  of  dots  and  dashes. 

The  first  of  this  new  F.  B.  0.  series  is  titled  Getting 
Going  in  which  are  contained  all  the  natural  harbingers 
of  what  the  well  dressed  two-reel  funny  pictures  will 
wear  this  season.  No.  2  is  called  In  the  Knicker  Time 
and  realizes  all  the  promises  which  George  Marion,  Jr., 
the  author,  had  made  in  the  first  installment.  We  can 
say  at  least  one  thing  in  favor  of  The  Go-Getters:  this 

48 


in  "Ridin 
lver." 


Kid 


series  gets  what  it  sets  out  for 
— the  laughs. 

RIDIN'  KID  FROM  POWDER 
RIVER— Universal— When  the 
scenario  writers  out  in  Univer- 
sal City  find  themselves  short 
on  program  features  and  the 
prop  department  long  on  six 
quart  hats  and  leather  chaps, 
there  is  always  some  one  ready 
to  oblige  with  a  western  spe- 
cial and  Hoot  Gibson  is  or- 
dered to  report  next  morning 
with  make-up.  That's  just 
the  sort  of  picture  The  Ridin'  Kid  From  Powder  River 
seems  to  be — a  filler  in.  The  story  is  written  in  the 
period  when  western  cattle  barons  were  warring  with 
the  nesters  or  Government  landholders  for  possession  of 
valuable  grazing  land  in  the  Southwest.  But  why  Ray- 
mond L.  Schrock,  the  scenarist,  laid  the  plot  in  the  locale 
of  an  arid  Arizona  desert  when  the  bone  of  contention 
apparently  was  rich  pasture  land  for  large  herds  of  Texas 
longhorns  is  past  the  understanding  of  even  so  credulous 
a  movie  fan  as  we  are.  What,  then,  was  all  the  shootin"' 
for  when  Arizona  cactus  land  was  going  for  98  cents  an 
acre?  ' 

Hoot  Gibson's  acting,  as  demonstrated  in  this  film,  ,  is" 
gradually  attaining  something  akin  to  finesse.  Hoot 'is 
playing  with  a  lot  more  restraint  than  he  has  ever  shown 
before.  Perhaps,  with  better  direction  and.  given  a  few 
vehicles  with  a  shade  of  intelligence,  he  might  achieve 


(\Sigrid  Holm-- 
quist  and  Li- 
onel Barry- 
rn  o  r  e  i  n 
"M  ed(J  ling- 
Women." 


Pre-Jhowing     of  Creature 


Cjf  \  L  M  S 


re 


NOB 


^  GLPkyllis  Haver  proves  that  her 
beautiful  legs  and  big  grey 
eyes  are  NOT  the  secret  of 
her  success. 


with 

PHYLLIS  HAVER 

and 

JOHN  GILBERT 

A  drama  of  life  in  society  and 
the  cross  pull  of  scandal 
and  money 


QiJohti  Gilbert  plays  the  calculating  social  lion  in  "The  Snob: 


• ....  *^3tt& — C5BK3 .  'Xsr 


"Pre-  Showing     of     C^ea  ture  C^ilms 


with  "Barbara  £a  ^Marr 
ANDKA  and  <T$ert  £ytell 


©l  Sandra  as  the  affectionate  and  home-loving  'wife. 


CISandra  —  the 
exotic  —  the 
central  figure 
of  La  Flam- 
meJs  costume 
ball  in  Paris. 


<\Bert  JLytell  as 
David. 


CI  Barbara  La 
M  a  r  r  as 
"Sandra." 


(\Sandra's  wanderings  take  her  to  the 
heights  of  glory,  the  depths  of  de- 
gradation, and  bach  to  her  adoring 
husband. 


Pre-^howing     of     Creature     ^7  i  l  m  s 


LASSMATES"  With  RICHARD  BARTHELMESS 


(\Richard  Barthel  mess 
lives  up  to  the  tradi- 
tions of  West  Point, 
and  gets  his  commis- 
sion in  the  face  of  al- 
most insurmountable 
obstacles. 


Q.  Madge  Evans  as  Sylvia  Randolph 
and  Richard  Barthelmess  as  Duncan 
Irving,  Jr.,  in  "Classmates.'' 


G\_Duncan  succeeds  in  getting 
his  name  on  Sylvia's  dance 
card  often  enough  to  convince 
his  rival. 


Pre -Showing     of     Cf  e  a  t  u  r  e  (/ilms 


t^f^y^f       T  W/"       /  J))   ^rom  the  book  by  SIR  CON  AN  DOYLE  with 

^\she   LiOST  W  OYIU     bessie  love  w  Wallace  beery 


55 


Pre-^howing     of     C/eature  C/ilms 


I 


OOGAN 


rr 


raiment  for  Jackie, 

King  of  Kids 


G[Jackie  Coogan  as 
the  "  se  n  i  o  r" 
member  of  the 
firm  of  "Kelly 
&  Ginsberg." 


Q  The  Rag  Man  makes  a 
weighty  decision  and  takes 
Jackie  for  a  partner. 


Q  Jackie  Coogan  and  Max- 
Davidson  as  "Kelly  &  Gins- 
berg, dealers  in  High  Class 
Junk"  in  "The  Rag  Man." 


56 


Pre- Jhowing     of     Creature  C/mlms 


ouse  by  the  Sea" 


with 

LOUISE  FAZENBA. 
BUSTER  COLLIER 
and  RIN-TIN-TIN 


0[  Louise  Fazenda  as  "Flera 
Gale"  rescues  Albert  Dorn, 
played  by  Buster  Collier. 


(±)  r  amal  and 

By  Myron  Xobel 


Cort  Theatre,  October  6,  1924 — Hurry  to  Gotham, 
Mr.  George  Fitzmaurice,  for  Arthur  Richman  has 
written  a  play  for  you.  It  is  all  about  France 
and  Italy— so  full  of  that  ''so  French  atmosphere" 
which  you  reproduce  so  well.  And  it  is  called  The  Far  Cry. 
Here  is  the  story  as  I  seem  to  see  it  on  the  screen: 

Reel  One — Claire  Marsh  is  rapidly  going  to  the  dogs  in 
Paris.  She  has  just  divorced  her  good-for-nothing  young 
tango-partner  of  a  husband  and  has  declared  herself  as 
believing  that  marriage  is  a  bore  and  can  be  gotten  along 
without — with  the  help  of  the  right  sort  of  man  of  the 
wrong  sort.  (Of  course  Pauline  Garon  should  play  this 
part.)  The  right  sort  of  man  does  come  along.  He  is 
Dick  Clayton  and  when  I  tell  you  that  he  is  like  Richard 
Dix  you  will  understand  what  happened  in 

Reel  Two — Claire's  father  (I  guess  that  would  be  Alec 
Frances)  comes  over  from  New  York  to  keep  his  daughter 
from  marrying  Clayton,  whom  he  has  heard  is  a  waster. 
Clayton  proposes  but  Claire  refuses  him  because,  as  she 
says,  she  "loves  him  too  much  to  marry  him.''  But  she 
agrees  to  go  with  him  to  Florence  where  he  has  rented  a 
studio.    (I  forgot  to  tell  you  that  Dick  was  an  artist.  I 


thought  you'd  know  that,  seeing  he  lived  in  Paris.;  Dick 
is  quite  sensible  about  it  all  and  agrees  to  the  experiment. 

Reel  Three — Of  course  Claire  and  Dick  are  ideally  happy 
in  Florence,  and  Dick  does  the  best  work  of  his  career. 
(It  should  be  noted  here  that  Dick  does  not  use  Claire  as 
the  model  for  a  painting  which  is  hung  in  the  Louvre.) 
But  the  snake  in  the  grass  enters  here  in  the  form  of  one 
Count  Filippo  Sturani  (probably  Ricardo  Cortez  will  sug- 
gest to  you  what  I  mean).  'Claire  flirts  innocently  with 
the  Count  but  Dick  misunderstands  (how  sensitive  those 
artist-fellows  are!)  and  a  scene  ensues.  Claire's  father  ar- 
rives just  in  time  to  see  his  daughter  packing  up  to  keep 
a  rendezvous-for-spite  with  the  Count. 

Reel  Four — This  reel  and  the  next  one  would  probably 
be  filled  with  scenes  of  wild  abandon  at  Deauville,  Monte 
Carlo  and  Biaritz  in  which  Claire — followed  by  the  infatu- 
ated Count — seeks  to  drown  all  memory  of  her  lost  lover 
in  roulette  chips  and  champagne.  At  the  end"  of  Reel 
Five  she  would  strike  the  Count  across  the  face  with  her 
golden  slipper — from  which  he  at  that  moment  was  attempt- 
ing to  drink  an  obscene  toast — and  return  to  Paris. 

Last  Reel — Father  would  be  waiting  up  when  Claire  ar- 


01  Marie  Marce 
line  in  "Art 
ists  and  Mod 
els.'' 


OL  Bonna  O'Dear 
in  "The  Pass- 
ing Show  of 
192+." 


53 


0  Ed  Wynn 
the  Tour 
der  Puff 
in  "The 
Bag." 


and 
Poiu- 
Girls 
Grab 


/ 


A  movie  writer  hunts  on  Broad- 
way to  catch  the  little  movies 
while  they're  young. 


rives  at  Paris.  Comes  a  beautiful  scene  in 
which  father  tells  his  daughter  that  living 
abroad  is  what  is  ruining  her.  It  is  a  "far  cry" 
from  the  sweetness  and  purity  of  debutante 
life  in  America.  If  you  will  come  back  with 
me  we  will  start  all  over  again.  And  would 
you  believe  me,  she  goes! 


N' 


When  Joe  Schenck  walked  out  of  the 
the~atre  at  the  end  of  the  third  act  (there  being 
four)  at  the  opening  night  of  Ashes  I  knew  that 
another  good  play  was  lost  to  the  movies — at 
least  temporarily.  But  perhaps  I  was  just  over- 
whelmed by  the  emotional  power  of  Florence 
Reed's  acting  in  this  play  by  Reginald  Goode. 
I  think,  since  Norma  Talmadge  won't  take  it, 
I  should  like  to  see  Dorothy  Phillips  try  it. 
Now  that  sounds  like  a  strange  choice,  doesn't 
it?  But  da  you  know  the  sweet  kind  of  woman 
that  is  Dorothy?  Have  you  read  of  her  over- 
powering love  for  her  child,  of  the  devotion 
to  the  memory  of  her  dead  husband,  Allen  Holu- 
bar?  And  now  here's  the  story  of  Ashes.  I  will  scenaroize 
it  for  you. 

Reel  One — It  is  a  little  actor's  boarding  house  in  Birming- 
ham, England.  Marjorie  Lane  is  the  name  of  the  actress. 
Rupert  Best  is  her  husband.  They  have  a  baby  girl,  and 
Marjorie  has  turned  down  starring  contracts  in  America 
in  order  not  to  be  deprived  of  her  child.  But  the  doctor 
declares  that  the  child  must  have  the  fresh  air  of  the  coun- 
try to  save  its  life.  So  Marjorie  Lane  goes  to  America  to 
fill  her  starring  contract. 

Reel  Two — Her  name  in  electric  lights  on  Broadway, 
Marjorie  Lane  is  opening  in  New  York  to  an  assured  tri- 
umph. Her  husband,  whom  she  loves,  is  there  with  her, 
but  her  child,  whom  she  adores,  is  not.  A  cable  arrives; 
her  child  has  been  drowned.  Miss  Reed's  acting  of  this 
strong  emotional  scene  is  superb.  Not  to  wipe  your  eyes 
when  the  curtain  fell  was  to  be  conspicuous — and  con- 
spicuous in  an  audience  composed  largely  of  men. 

Reel  Three — Marjorie  Lane  has  wealth,  success,  fame. 
In  her  beautiful  country  home  her  husband  and  her  little 
sister  are  living  with  her.  In  fact,  on  her.  For  her  actor 
husband  has  ceased  acting.  His  time  is  devoted  to  at- 
tempting the  seduction  of  his  wife's  little  sister.  (Mar- 
jorie Daw  might  play  the  sister,  and  Lowell  Sherman  would 
do  perfectly  for  the  worthless  husband,  provided  he  wouldn't 
burlesque  his  own  part  too  much,  as  he  has  a  habit  of 
doing.) 

Reel  Four — Marjorie  discovers  her  husband — whom  she 
has  always  trusted — in  a  compromising  situation  with  her 
sister.  Her  sister  confesses  her  guilty  conduct  in  leading 
him  on  and  says  that  they  love  one'  another.  Marjorie 
she  accuses  of  having  not  been  a  good  wife  as  she  also 


Q  Katharine  Cornell  in  David  Belas- 
co's  production  "Tiger  Cats.'' 


accuses  her  of  having  not  been  a  good  mother.  For  the 
best  of  her  always  has  gone  to  the  theatre. 

Reel  Five — Marjorie  now  finds  everything  turned  to 
ashes  in  her  mouth.  She  cancels  her  theatre  contract  and 
prepares  to  sail  for  Europe.  But  before  she  goes  she 
convinces  her  little  sister  of  the  truly  perfidious  nature  of 
her  husband  by  concealing  her  behind  a  curtain  while  her 
husband  is  telling  her  his  own  version  of  the  affair. 

Reel  Six — The  play  ends  there.  But  I  should  like  to  see 
Marjorie  return  from  Europe  a  couple  of  years  later,  her 
sister  having  married  some  scoundrel  abroad  (it  would  serve 
her  right).  Then,  having  sacrificed  daughter,  husband,  sis- 
ter and  wealth  to  the  theatre  I  wrould  have  her  return  to 
the  stage,  only  to  find  herself  neglected  by  the  theatrical 
managers  and  forgotten  by  the  public.  I  would  have  her 
commit  a  magnificent  stage  suicide  at  that  point — having 
tasted  bitter  ashes  to  the  bitter  end.  But  then  I  am  an 
habitually  morose  and  melancholy  fellow  with  a  very  real 
passion  for  tragedy. 

Gareick  Theatre,  October  13,  1924 — William  de  Mille 
was  born  to  make  the  play  I  saw  tonight  into  a  picture. 
I  refer  to  Molnar's  comedy,  The  Guardsman.  If  Leatrice 
Joy  is  very,  very  good  and  will  promise  not  to  try  any  of 
the  tricks  that  brother  Cecil  taught  her  he  might  give  her 
the  part  of  "The  Actress" — played  on  the  stage  so  exquis- 
itely by  Lynn  Fontanne.  And  I  see  no  reason  why  Adolphe 
Menjou  (apparently  the  only  sophisticated  actor  on  the 
screen)  should  not  play  the  part  of  "The  Actor"  which 
Alfred  Lunt  before  the  footlights  made  so  deliciously  en- 
tertaining.   Here  is  the  Why.         (Continued  on  Page  S8) 


59 


60 


Photograph  by  Edwin  Bower  Hesser 


Just  completed  "Merton  of  the  Movies"  and  "Open  All  Afiolcl  (ZMCl 
Night."  and  will  next  be  seen  in  "Lord  Chumley."  * 


6J 


^Ap ple  Jauce 


By 


Robert  Cyril  O'Brien 


As  this  promises  to  be  a  severe  winter,  Dante's  Inferno 
should  play  to  packed  houses  everywhere. 

A  few  words  concerning  the  author  of  the  piece: 

Dante  Alighieri  was  an  Italian  poet.  He  was  born  in 
1265  and  died  in  1321.  He  is  therefore  a  good  deal  older 
than  Christopher  Columbus,  but  younger  than  Santa  Claus. 

It  took  Dante  more  than  six  hundred  years  to  get  his 
name  in  lights  on  Broadway.  But  he  got  it  there  eventu- 
ally; that  is  the  thing  that  really  counts. 

*  ❖  * 

To  those  who  have  never  read  George  Eliot's  novel,  the 
title  Romola  is  puzzling.  After  all,  who,  what  or  where 
is  or  was  Romola?  It  sounds  to  us  like  the  name  of  a 
Spanish  general,  or  a  soft  drink,  or  something  like  that. 
We'll  have  to  go  see  the  picture  and  become  enlightened. 

Romola  is  one  of  the  two  novels  by  George  Eliot  which 
we  haven't  read,  the  other  being  Silas  Marner.  We  were 
supposed  to  read  the  latter  in  school;  it  was  part  of  the 
course  of  study.  We  never  did  get  to  it.  We  can  offer 
this  excuse,  however,  for  not  having  perused  Romola — our 
school  teacher  was  not  as  pretty  as  Lillian  Gish. 

*  *  * 

Eric  von  Stroheim  is  directing  Mae  Murray  in  Metro- 
Goldwyn's  Merry  Widow.  At  this  writing  it  has  not  been 
decided  who  is  to  waltz  the  part  of  Prince  Danilo. 

It  will  be  a  long  time  before  Eric's  Blind  Husbands  will 
be  forgotten.  Many  still  remember  the  billposters  used 
to  advertise  the  production.  There  were  several  heads 
shown,  and  each  head  had  its  eyes  bandaged.  Well,  what 
we  are  trying  to  get  at  is  this:  The  men  who  posed  for 
th6se  posters  have  since  slipped  the  bandages  from  their 
eyes  down  to  their  mouths  and  have  obtained  employment 
posing  for  pyorrhea  ads. 

We  learn  that  Tom  Meighan's  next  will  be  entitled  Bed 
Rock.    Gosh,  we  thought  it  was  only  cradles  that  rocked! 

According  to  William  Fox  The  Iron  Horse  isn't  run- 
ning— it's  galloping. 

jjl  5Ji  ^ 

Rah!  Rah!  Rah!  The  action  of  Harold  Lloyd's  next 
release  will  take  place  on  a  college  campus. 

Schulberg  Productions  is  busy  on  Capital  Punishment. 

While  we  have  no  advance  dope  at  hand,  we  imagine  the 
plot  of  the  picture  to  be  something  like  this: 

Ann  Noyes,  a  beautiful  but  dumb  damsel,  attends  the 
movies  with  her  little  niece,  who  asks  that  the  titles  be 
read  aloud  to  her.  Ann  thoughtlessly  complies  with  the 
request,  much  to  the  annoyance  of  the  by-sitters.  Finally, 
a  man  sitting  directly  in  front  of  Ann,  unable  to  control 
himself  longer,  turns  around  and  strangles  the  young  lady. 


The  man  is  immediately  arrested  and  indicted,  but  shows 
no  remorse  for  his  deed. 

Although  public  sentiment  seems  to  favor  an  acquittal, 
the  unfortunate  man  is  convicted  and  sentenced  to  death 
by  the  Governor. 

A  petition,  signed  by  millions  of  movie  fans,  is  brought 
to  the  attention  of  the  Governor,  who  is  attending  the 
movies  at  the  time.  He  gets  up  and  goes  out  just  in  the 
middle  of  the  love  scene,  and  the  patrons  in  that  row 
rise  and  slaughter  him.  This  makes  the  hero  governor  by 
the  law  of  acquittal. 

*  *  * 

The  screen  is  to  have  another  star.  None  other  than 
Peggy  Hopkins  Joyce  herself.  The  Countess  Morner  (for 
that  is  her  latest  name)  is  to  be  starred  in  eight  pictures. 

The  countess  is  known  wherever  newspaper  headlines 
and  Sunday  supplements  are  read.  If  all  newspaper  items 
relating  to  her  had  been  clipped  and  collected  and  pasted 
into  scrapbooks,  the  paste  manufacturing  companies  would 
be  declaring  dividends  now. 

Movie  work  will  be  new  to  Peggy.  Heretofore  she  has 
confined  her  acting  to  the  legitimate  and  the  courts. 

*  *  * 

What  most  any  director  would  like  for  Christmas:  A 
Covered  Wagon. 

When  you  sit  in  a  comfortable  chair  in  your  favorite 
theatre  and  rapturously  gaze  upon  your  idol  cavorting 
across  the  silver  sheet,  do  you  ever  stop  to  think  of  the 
producer  and  the  part  he  plays  in  the  star's  success? 

Actors  are  very  temperamental;  that  is  their  privilege. 
What  is  the  use  of  being  talented  if  you  can't  be  erratic 
at  the  same  time?  Producers  appreciate  this  and  always 
sort  of  kid  the  actors  along.  They  realize  that  it  is  for 
the  actor's  good  that  they  do  so.  They  also  know  that 
stars  frequently  underestimate  their  box  office  value  and 
popularity.  That  is  what  makes  it  so  difficult  for  a  pro- 
ducer to  get  a  star  to  accept  remuneration  commensurate 
with  his  or  her  value. 

When  a  producer  attempts  to  sign  a  star,  the  conversa- 
tion runs  something  like  this: 

"How  does,  ten  thousand  a  week  strike  you?'' 

''As  ridiculous.    I  fear  you  do  not  speak  my  language." 

"Well,  five  thousand,  then?  That  is  as  low  as  I  can 
possibly  go.    You'll  have  to  accept  that!" 

"Absurd.  You  know  darned  well  I  am  not  worth  any- 
thing near  that." 

"I'll  make  you  one  more  offer;  if  you  don't  accept  it. 
by  golly,  I'll  find  some  one  who  will.  Three  thousand  a 
week!    Take  it  or  leave  it!" 

"All  right,  if  you  insist — but  I  don't  know  what  I'll 
ever  do  with  so  much  money!'" 

63 


\y  H.  B.  K.  Willis 


J  hat  "Tie  Toast  of  Broadway"  today  may  be  in 
the  breadline  tomorrow  is  a  truism  which  is  borne 
out  by  the  present  day  plight  of  Frankie  Bailey, 
who,  m  "Naughty  Naught"  in  1900,  was  dubbed  the 
gfeen  of  Burleyque.    Dad  well 
remembers    Frankie's  pictures 
plastered  on  the  billboards  about 
town,  the  focus  '  of  masculine 
and  ladies-aid  eyes.   The  young- 
er bloods  of  the  dawning  cen- 
tury used  to  buy  a  cer- 


tain brand  of  what  they 
termed  "coffin  nails" 
just  because  a  picture  of 
Frankie  in  tights 
sure  to  be  found  in  the 
box  of  cigarettes. 

Frankie  is  now  appear- 
ing at  the  Metro-Gold- 


~J-*)l.Tt'*i1Cfr 


! 


°l  And  Frankie  Bailey  as  the 
toast  of  the  tozvn  ivhen  that 
meant  something. 


C[Frankie  Bailey  beginning  all 
over  again  in  motion  pictures. 


64 


she  may  be  able  to  break  into  the  flickers.  A  semblance 
of  the  figure  that  used  to  call  down  maledictions  from 
blue-stockinged  females  glimpsing  gaudy  lithographs  of  her 
in  tights  remains  to  Frankie,  but/  in  the  place  of  the  old 
gaiety  of  the  burleyque  queen^of  years  agone  fortitude 
now  reigns. 

"All  I  want  is  a  chance  to  make  good,"  she  declares. 
"Let  them  just  give  me  one  chance.  I'm  not  sensitive. 
If  I  fail  I  want  them  to  tell  me  so.  and  I'll  quit." 

Which  goes  to  show  Dad's  admiration  was  lavished  upon 
a  good  little  trouper  at  that. 


There  are  about  10,000  girls  in  round  figures  who  would 
like  to  work  in  pictures.  (Add  ciphers  to  suit  and  suits  to 
figures.) 


The  boulevardiers  are  wringing  Eddie  Sutherland's  hand 
these  days.  You  know  Eddie — he  married  Marjorie  Daw — 
and  he  used  to*  say  "yes"  to  Charlie  Chaplin  as  an  as- 
sistant director  and  "no"  to  everybody  else. 

Eddie  is  now  a  director.  He  will  megaphone  Tommy 
Meighan  through  "Bed  Rock" — not  a  Hopwoodian  farce, 
but  a  film  version  of  "Coming  Through,"  which  Jack 
Bethea  wrote  for  Collier's  last  spring. 

Sutherland  is  the  youngest  megaphone  man  in  the  busi- 
ness. His  lusty 
young  voice  will  be 
a  welcome  addition 
to  the  chorus  of  the 
directorial  anthem, 
"After  the  Bawl  Is 
Over." 


C[E  r  i  c  Von 

Strohcim,  the 
master  direc- 
tor ivill  put 
Mae  Murray 
through  her 
paces  as 
"The  Merry 
Widow.'' 


(\Tommy  Meighan  only  smiles  when 
he  means  it.  Perhaps  that  is  the 
reason  he  has  a  most  attractive  smile 
on  the  screen. 


wyn-Mayer  studios  in  Culver  City,  a  suburb  of  Hollywood, 
as  an  extra.  For  almost  a  year  the  once  famous  dancer 
faced  casting  director  after  casting  director  futilely.  They 
had  never  heard  of  her  though  she  once  shared  equal 
honors  with  Lillian  Russell  as  the  most  beautiful  woman 
on  the  American  stage. 

She  has  a  small  role  in  "Excuse  Me"  and  is  hopeful  that 


<\Mae  Murra 
the  tempera- 
mental little 
star. 


65 


He's  been  taking  it  for  nine  years  now  as  a  studio  hired 
hand  since  he  entered  the  employ  of  Mack  Sennett.  Five 
generations  of  his  family  have  worn  the  sock.  He  is  a 
nephew  of  Blanche  and  Frances  Ring,  the  latter  being 
Mrs.  Tommy  Meighan. 

The  chief  cause  of  marital  infelicity  in  Hollywood  is  the 
irregularity  of  the  early  morning  male. 


Paramount  is  going  in  for  beds.  Witness  -The  Golden 
Bed,"  a  Cecil  B.  DeMille  spectacle,  and  ."Bed  Rock," 
Tommy  Meighan's  next.  There  is  no  truth  in  the  report 
that  Grand  Rapids  will  furnish  the  locale  for  both. 

Somerset  Maugham  (pronounced  .Maugham/  has  suc- 
cumbed to  the  cinema.  His  "East  of  Suez"  has  been 
selected  as  Pola  Negri's  next  starring  vehicle.  Raoul 
Walsh,  who  produced  "The  Thief  of  Bagdad,"  will  direct 
her. 

I  wonder  what  Gloria  Swanson's  screen  career  would 
have  been  if  she  looked  as  crooked  as  Ben 
Turpin? 

Beauty  is  again  deadlocked  with  brains  in 


C[Eugene  O'Brien,  whose  performance 
in  "Secrets''  has  been  duplicated  in 
the  neiu  film,  "The  Only  Woman," 
with  Norma  Talmadge. 


Photograph  by  Muriella 


QjLasu  Pitts  in  "The 
Great  Divide"  and  the 
great  divided. 


(\Marie  Mosquini,  who 
has  been  playing  in 
Hal  Roach  comedies 
since  the  days  ivken 
Harold  Lloyd  iuas 
"Lonesome  Luke." 


1 1 


Hollywood.  Eric  von  Stroheim  and  Mae  Murray  have 
attained  an  impasse.  The  cameraman  for  "The  Merry 
Widow"  is  the  bone  of  contention.  Mae  is  sure  there  is 
only  one  in  the  industry  who  can  do  her  justice  while  von 
Stroheim  is  determined  to  use  the  cinematographer  who 
stood  by  him  during  the  hectic  wartime  when  he  was  re- 
garded as  a  boche  by  Hollywood  ultra-patriots.  All  the 
other  crank-twisters  held  thumbs  down  on  Eric  then. 

Eric  will  win.  He  has  "Greed"  (Norris'  "McTeague") 
down  to  fourteen  reels  now.    It  will  be  released  in  twelve. 


(\Norma  Shearer 
and  John  Gilbert 
give  their  di- 
rector, Monta 
Dell,  a  little  help 
•with  his  drink- 
ing. 


When  completed  eight  months  ago  it  totaled  thirty-six 
reels.    He  is  at  least  determined  though  somewhat  cutting. 

Rumors  of  quite  some  rumpus  in  the  filming  of  ''Zander 
the  Great"  at  the  Metro-Goldwyn-Mayer  lot  are  percolat- 
ing through  Hollywood.  Marion  Davies  has  the  Alice 
Brady  part.  Clarence  Badger  has  been  given  the  air  or 
has  left  the  set,  one  can't  determine  which,  in  the  middle 
of  the  turmoil,  and  things  are  reported  to  be  in  somewhat 
of  a  jam.    Need  I  say  it  is  a  Cosmopolitan  production? 


(\Monte  Blue,  icho  re- 
ceives such  a  large 
salary  that  he  has  en- 
gaged a  steam  shovel 
to  come  around  Satur- 
day afternoons  to  help 
him  with  his  cash  ac- 
count. 


Often  when  an  extra  is  paid  the  producer  is  but  giving 
the  double  his  due. 


"Zander  the  Great"  is  not  a  magician. 

Lubitsch  and  Mary  Pickford  are  said  to  be  fencing  a 
bit  about  just  what  sort  of  treatment  "Cinderella"  is  to 
receive  at  their  hands.  At  the  present  writing  "Cinderella" 
is  to  be  Mary's  next  picture. 

She  wants  to  make  it  as  gaudy  as  an  Ethiopian  hearse 
full  of  gleaming  floors,  flashing  swords,  waving  plumes, 
twinkling  slippers,  the  fanfare  of  trumpets  and  other 
showy  whatnots. 

Ernst,  however,  wants  to  handle  the  story  simply,  em- 
phasizing the  charm  of  the  age-old  tale  without  any  undue 
trimmings  and  flourishes. 

Another  interesting  matter  for  conjecture  as  to  outcome. 

It  will  be  remembered  that  Ernst  was  unable  to  subdue 
completely  Mary's  desire  for  certain  gags,  which  time  and 
experience  have  proven  box-officially  efficacious,  in  "Rosita," 
although  they  were  pollyannesthetic. 


C[Harry  Lang- 
don,  in  "Feet 
of  M  u  d," 
playing  so 
hard  you  can 
hear  his 
pants. 


Photograph  by  Abbe-Paris. 

C[Mary  Pickford,  who  _ has  her 

own    ideas    concerning  the 

filming   of  "Cinderella."  her 
next  production. 

Mary  Pickford  knows  her  public  and  doesn't  dare  grow 
tip.  She's  just  as  keen  a  show-woman  as  she  is  an  actress. 
Her  public  likes  her  as  a  minx  with  a  trace  of  wistfulness, 
and  winx  at  bits  of  business  which  annoy  the  highbrows. 

And  speaking  of  Queen  Mary — what  of  her  consort. 
Douglas  Fairbanks?  Since  he  made  "The  Thief  of  Bag- 
clad"  the  boulevard  has  been  buzzing  as  to  his  next  move. 
It  now  seems  quite  certain  that  he  will  next  be  seen  in 
an  ultra-modem  melodrama  of  the  mellowest  type. 


Many  motion  picture  producers  see  everything  but  bath- 
ing beauties  through  a  HAYS. 


George  Billings,  who  has  the  title  role  in  "Abraham 
Lincoln,"  is  one  actor  who  would  rather  be  doing  some- 
thing else.  Frankly  he  cannot  see  the  necessity  for  the 
art  which  professionals  are  prone  to  emphasize  in  capital 


GiEtnst  Lubitsch, 
-who  will  direct 
Mary  and  her 
hearthstone  in 
"Cinderella," 

letters.  He'd  much  rather  be  the  foreman  of  a  carpenter 
gang.  His  old  occupation  of  bill-collector  palls  on  him 
however. 


Madeline  Hurlock  says  a  wifely  greeting  to  an  inebriate 
spouse  is  usually  a  cross-word  puzzle. 


ClRamott  Novarro  catling  upon  Pole 
Negri.  "Do  not  let  zee  chariots  bite 
you,"  said  Pola;  and  Ramon  prom- 
ised Pola  he  would  not. 


\ 


Q.Betty  Blytke  having  afternoon  tea  on  the  prov- 
ing   ground    of    the  Rattan    Chair  Factory. 


AS  THE  FRONT  LEGS  OF  A  CAMEL! 
Laugh  that  off! 

One  throws  in  the  clutch  in  ending  a  photoplay  and 
starling  an  automobile. 


The  acid  test  of  a  bathing  beauty  is  a  "thighsable"  thing. 
Standing  with  heels  together  ever  the  twain  shall  meet — 
from  the  knees  up — when  calf  meets  calf. 


GlPhyllis  Haver — one  of  the  lest  star  lets  on  the  screen. 


What  would  happen  to  Jeannie  McPherson  who  assists 
DeMille  in  the  preparation  of  his  scripts  if  she  wrote  like 
Dr.  Frank  Crane? 

Most  of  us  live  to  die  but  Anna  Q.  Nilsson  is  dying  to 
live.  She  has  passed  out  in  her  last  three  pictorial  starts. 
"The  Fire  Patrol,"  "Between  Friends"  and  First  National's 
"If  I  Marry  Again." 

They'll  be  calling  her  "Death-Bed  Annie"  if  she  per- 
sists, let  us  say,  in  passing. 


The  pretty  lady  who  plays  the  lead  is  the  only  human 
interest  in  some  of  these  here  films. 


Hollywood  will  never  forget  Wallie  Reid.  That  sunny 
chap  is  one  of  the  cinema's  immortals.  He  will  always 
be  remembered  by  the  boulevardiers  for  his  kindly  acts. 
When  Reid  was  dying  Charles  A.  (Buddy)  Post,  Gargan- 
tuan screen  bad-man,  called  upon  him.  Post's  luck  had 
been  bad. 

"Go  to  it.  Buddy!     Good  luck!"  Reid  told  him. 

Post's  luck  has  changed.  He  is  to  have  a  big  part  in 
"The  Top  of  the  World,"  which  sounds  like  a  travelogue 
but  isn't. 

Some  of  these  screen  correspondents  are  so  naive 
that  Will  Hays  will  get  them  if  they  don't  watch  out. 
One  writes:  "For  the  first  time  in  her  four  years  of 
screen  experience  Lillian  Rich  wears  a  bathing  suit  in 
'Cheap  Kisses,'  an  F.  B.  0.  feature." 

Oh!    Oh!    Naughty!  Naughty! 

"F.  B.  0."  probably  means  "Feels  Better  On." 

69 


HAT 


iT 


5  [ascination  has  a  penalty, 
and  Bessie  Love  pays  it. 
'  Behold  a  dainty  sprite 
whose  wide  brown  eyes 
meet  yours  with  a  steady  gaze,  a 
skin  of  such  whiteness  and  fea- 
tures of  such  symmetrical  defini- 
tion that  her  aura  is  spirituelle, 
it  is  so  easy  to  rest  one's  glance 


there. 


lust  rest  and 


Long 


afterwards,  perhaps,  when  Bessie  has 
left  and  an  analysis  of  her  charm 
is  in  order,  it  is  quite  possible  to 
discover, 

"Good  Heavens!     What  did  she 
have  on?  What  color  was  her  dress? 
And  her  hat?" 
You  don't  remember! 


®1  Here  is  the 
new  dyed 
ermine 
-wrap  for 
dressy  af- 
ternoon or 
This  one  is 
ous  peach 
with,  peach-dyed  fox 
standing  colla 


70 


01  This  little 
restaurant 
frock  is  of 
black  satin 
charmcuse,  with 
scalloped  hem, 
apron    front,  sport- 
ing    eleven  little 
Spanish  lace  frills. 


essie  /ove  so 


By  Nohdah  Dexter 


-T 


Photographs  specially  posed 
for  SCREENLAND 
by 

BESSIE  LOVE 

Goivns,  Hats  and  Furs 
from  H.  Milgrim,  New  York 


No  doubt. that  represents  the  art  of  dress- 
ing in  excelsis:  the  gentle  creation  of  a  pic- 
ture that  leaves  one  indelible  impression 
rather  than  a  pot-pourri;  but  the  feminine 
mind  cannot  see  the  matter  thus. 

So  I  have  stolen  these  styles  from  Bes- 
sie's wardrobe  in  much  the  spirit  of  burglar- 
izing the  National  Gallery  and  decamping 
with  priceless  canvases. 

First— a  suit  for  mornings  of  dark-grey 
homespun,  very  mannish,  with  wrap-around 
skirt  and  double-breasted  three-button  coat, 
gives  the  season's  straight  silhouette.  *  A  nat- 
tily tied  Alpine-blue  tie  and  handkerchief  to 
match,  grey  shoes  and  woolen  stockings  are 
correct  accessories  to  set  off  this  chic  tailor- 
made. 

For  afternoon  there  is  a  short-waisted 
black  crepe  frock,  V  neck  and  tunic,  the 
latter  covered  with  circles  in  varying  sizes 
of  pale  yellow  and  coral  beads.  With  this 
Miss  Love  wears  a  black  felt  hat,  having 
a  feather  pom-pom  and  gold  braid. 

Then  a  restaurant  frock  in  black  satin 
charmeuse,  with  scalloped  hem,  apron  front 
sporting  eleven  little  Spanish  lace  frills,  and 
a  novel  feature  is"  the  back  of  transparent 
lace  finished  at  the  waist-line  with  two  bril- 
liant buckles.  A  smart  black  velvet  hat  with 
sectional  crown  has  a  flat  satin  bow  and 
rhinestone  pins;  add  shoes  of  black  satin; 
and  behold  a  tout  ensemble  correct  in  every 
detail. 

Exquisite  was  the  wrap  worn 
either  for  dressy  afternoon  or 
evening.  Ermine  dyed  to  a  glor- 
ious peach-shade,  peach-dyed  fox 
cut  to  form  an  upstanding  collar 
also  defines  the  front  and  hem. 
This  miracle  of  the  furriers'  art 
was  lined  with  shirred  multi-col- 
ored chiffon  oVer  corn-flower  blue 
satin. 


01 A  very  mannish 
suit  for  morn- 
ings. Dark-grey 
homes-pun  with 
iv  r  a  p-around 
skirt  and  double- 
breasted  three 
button  coat. 


71 


WITH 


7 hat  you  do,  what  Norma  Tal- 
madge  does,  and  what  Sidney 
Olcott  does  when  he 
takes  a  scene. 

Abraham  Goldener 


I MET  a  friend  one  day  in  Hollywood  who  had  just 
landed  a  part  in  the  new  picture  Sidney  Olcott  was 
to  do  with  Norma  Talmadge.    He  said  he  bet  he 
could  get  me  in  as  an  extra. 
I  had  recently  been  holding  forth  in  the  lowly,  yet  all- 
important  position  of  property  boy.   And  had  been  part  of 
the  great,  ever  hopeful  throng  that  is  constantly  and  for- 
ever knocking  at  the  doors  of  Hollywood's  studios. 

A  few  days  later  came  a  call  to  report  at  the  Joseph 
Schenck  wardrobe  at  eight  o'clock  in  the  morning,  pre- 
pared to  give  my  talent  to  the  screen  as  one  of  the  natives 
of  a  far  away  clime — at  seven-fifty  per  day. 

Arriving  at  the  United  Studios  I  checked  in  and  passed 
through  the  gate  to  the  wardrobe.  I  found  myself  a  total 
stranger  among  a  motley  throng— Jewish  types,  Mexicans, 
Arabians.  Italians,  colored  men,  women  of  various  nationali- 


ties and  several  children.  In  all  this  mixed  gathering  I 
doubt  if  there  were  half  a  dozen  who  had  at  some  time 
or  other  followed  the  stage  for  a  livelihood.  Yet  they  were 
perfect  natural  types. 

We  wait  a  half  hour — an  hour  or  more.  Finally,  dressed 
in  the  uniform  of  an  Italian  officer,  comes  the  technical 
director's  assistant,  Mario  Carillo,  a  good  looking,  well  set 
up  young  actor  who  served  in  the  Italian  army  and  has 
been  stationed  in  this  very  city  where  some  of  the  story's 
action  is  laid.  Carillo  has  a  keen  eye  for  types  and  quickly 
separates  us  into  groups  of  the  Arabs,  Jews,  Italians,  tour- 
ists, etc.,.  that  would  naturally  be  found  in  Tripoli.  The 
costumes  are  issued — some  of  us  appear  rather  ludicrous 
in  our  outfits,  me  in  my  costume  resembling^ nothing  at  all! 
But  the  greater  part  of  the  crowd  look  amazingly  like  those 
they  are  to  represent.    Then  to  the  dressing  rooms  fs]  ?? 


72 


Filming  Norma  Talmadge  in 
can  see  the  extra  man,  auilu» 


'•The  Only  Woman."  Just  over  and  behind  the  dancer  you 
oj  this  articUj  leaning  against  a  tree.    ' 


the  others  make  up  quickly,  skillfully,  while  I  struggle  with 
mine  in  this,  my  first  attempt.  Back  to  Canllo  tor  in- 
spection and  correction.  A  turban  is  changed  here,  a 
skull  cap  there,  one  man's  t shoes  are  too  large,  another's  too 
small,  others  are  discarded  entirely.  Strangely  enough  my 
costume  passed  muster,  but  the  make  up  all  wrong!— so 
back  to  the  dressing  room  for  repairs. 

On  the  set,  a  bit  of  transplanted  Tripoli,  are  the  open 
air  cafe  and  bar,  the  rug  bazaar,  the  silverware  and  bric-a- 
brac  store,  the  fruit  and  vegetable  stand,  the  coffee  shop, 
the  mosque,  another  bar,  street  peddlers,  rival  bootblacks, 
goats,  camels  and  dogs.  Here  is  an  antique  shop,  in  front 
of  which  sit  several  Hebraic  elders,  discussing  the  Talmud. 
From  the  balcony  above  two  veiled  ladies  are  watching  a 
re'iigiDMs  devotee  bowed  over  his  prayer  stool.    Two  col- 


ored men  sit  sprawled  atop  some  bales  of  straw,  while  two 
colored  soldiers  importantly  guard  the  gates. 

Busily  moving  about  the  set,  placing  extras,  explaining 
the  action  and  business  and  otherwise  trying  to  give  a 
faithful  picture  of  old  Tripoli,  are  Caryl  Fleming.  Olcott  s 
long-time  assistant,  and  Freddie  Fleck,  another  assistant. 
Fleming,  an  old  hand  at  the  game,  is  the  sort  of  assistant 
that  all  directors  yearn  for,  but  seldom  obtain.    He  an- 
ticipates anything  and  everything  that  may  be  required  and 
so  perfectly  arranges  the  various  details  that  the  director  s 
mind  is  free  to  devote  entirely  to  the  action.  Bustling 
about  the  set.  fixing  a  vase  here,  adding  some  necessary 
props  there,  is  one  called  by  common  consent.  "The  Count. 
He  occupies  the  position  of  chief  property  man;  a  com- 
pany without  good  props  would  not  be  fully  complete. 
Behind  the  camera  is  Tony  Gaudio.  probably  the  best 


■  ■ 


74 


SCREENLAND 


known  cinematographer  in  the  industry.  Close  by  his  side 
is  Sidney  Olcott,  brought  back  from  New  York  to  direct 
Norma  Talmadge  in  her  new  picture,  "The  Only  Woman." 
To  an  old  time  fan,  Olcott  is  no  stranger,  for  his  career 
dates  back  to  the  early  Kalem  days  when  he  was  both 
actor  and  director.  He  was  the  first  to  take  a  company 
overseas.  A  series  of  pictures  was  made  in  Ireland,  and 
one  picture  made  in  the  Holy  Land  is  still  being  released 
during  the  Easter  season.  For  a  while  the  writer,  whose 
fan  days  go  back  almost  to  the  inception  of  pictures,  missed 
Olcott.  After  several  indifferent  features  he  came  back 
with  a  bang  and  planted  Marion  Davies  firmly  on  the  film 
horizon  in  "Little  Old  New  York."  Then  followed  in  rapid 
succession  "The  Green  Goddess,"  "The  Humming  Bird," 
and  the  recently  completed  Valentino  comeback,  "Mon- 
sieur Beaucaire."  Olcott  is  typically  Irish,  sincere  in  his 
work,  a  fund  of  good  humor  at  his  command,  and  a  mar- 
velous memory.  Nothing  misses  his  eye.  When  he  directs 
a  scene,  he  throws  all  the  fire  and  fervor  of  his  soul  into 
the  action.  To  watch  his  facial  expressions  is  indeed  a  treat. 
Veritably  he  is  the  entire 
cast,  the  leads,  the  bits,  the 
extras  and  all.  He  possesses 
two  essentials  of  the  great 
director:  patience  and  a 
spirit  of  co-operation.  In 
spite  of  the  most  trying 
work  with  some  of  the  ex- 
tras he  very  rarely  loses  his 
temper,  even  for  a  moment. 
When  the  scene  is  shot  he 
thanks  every  one  concerned, 
allows  a  short  time  for  rest, 
■and  then  starts  rehearsals  for  the  next  scene. 

Seated  close  by,  watching  the  direction  of  a  scene,  is 
another  old  time  favorite,  a  star  of  the  early  days,  Alice 
Hollister.  Her  young  daughter,  Doris,  is  to  favor  us  with 
an  Oriental  dance  to  the  tune  of  that  peculiar  fife-like 
instrument  played  by  the  Arabians  and  known  as  an  oboe. 

Enters  on  the  scene  Eugene  O'Brien,  hero  of  countless 
love  affairs — of  the  screen,  followed  shortly  by  his  most 
constant  lady  fair,  the  ever  charming  Norma  Talmadge. 
She  is  as  sweet  and  dainty  on  the  set  as  in  any  of  her 
screen  roles.  Gene  is  just  as  good  looking,  as  amiable, 
and  as  obliging  off  as  on  the  screen. 

Occupying  a  folding  chair  and  closely  observing  the  ac- 
tivities was  Matthew  Betz,  who  is  doing  the  heavy  and 
whose  recent  work  in  "Those  Who  Dance"  has  established 
him  as  a  peer  in  the  delineation  of  brainy  crooks.  Lean- 
ing over  his  chair,  spilling  the  newest  story  of  the  boule- 
vard, is  Brooks  Benedict,  another  member  of  the  cast,  and 
as  yet  blissfully  unaware  of  the  spill  in  the  ocean  he  is 
slated  for.  Benedict,  nephew  of  a  certain  famous  dialect 
character  comedian,  has  done  many  fine  things  on  Broad- 
way and  had  established  an  enviable  reputation  before  he 
determined  to  seek  celluloid  fame  in  Hollywood.  ' 

Hobbling  along  the  street  in  tattered  clothes  that  elo- 
quently proclaim  the  street  beggar  is  Sam  Polo,  with  a 
make  up  so  good  that  audiences  will  find  it  hard  to  be- 
lieve that  he  is  not  the  character  he  portrays.  He  essays 
another  small  role  in  a  later  scene  with  a  make  up  that 
would  puzzle  his  own  mother.    And  he  is  only  an  extra. 

Director  Olcott  starts  a  rehearsal  of  the  action.  The 
writer  has  a  hard  role — he  carries  a  jug  that  smacks  of 
the  pre-Volstead  period  across  the  scene  and  then  leans 
against  a  tree,  watching  the  native  dancer  do  her  stuff. 


The  Pasha,  very  distinguished  in  appearance,  walks  down 
the  street  and  is  reverently  saluted  by  the  natives  and  the 
soldiers.  A  store-keeper,  who  strangely  enough  once  owned 
a  store,  has  a  hard  time  being  natural,  in  a  scene  where 
Eugene  and  the  dragoman  bargain  for  some  jewels  for  Miss 
Talmadge.  Finally  Olcott  is  satisfied,  and  there  are  one 
or  two  takes  of  the  scene  and  we  pass  to  the  next  action. 

A  dramatic  sequence  is  explained.  A  reckless  rider  is  to 
gallop  through  the  street,  scattering  a  group  of  children, 
the  smallest  of  whom  is  to  be  saved  from  injury  by  the 
hero.  The  scene  is  so  excellently  done,  the  excitement  so 
well  simulated  that  for  a  moment  it  seemed  as  if  an  acci- 
dent had  really  occurred.  But  wait,  the  rider  seems  dis- 
satisfied. He  is  fearful  that  not  sufficient  footage  has  been 
allotted  to  him.  The  dear  public  may  miss  his  great  ef- 
fort. The  scene  must  be  done  again.  However,  he  is  as- 
sured that  his  every  action  was  caught  by  the  concealed 
cameras  that  he  failed  to  see.  A  few  moments  later  two 
extras  quarrel  because  each  thinks  he  should  have  the  honor 
of  carrying  O'Brien,  who  is  supposed  to  have  been  badly 

hurt.    Not  so  much  their 


How  a  beginner  gets  started  in  the  movies  is 
always  interesting.  Abraham  Goldener,  who 
wrote  this  article,  was  an  extra.  He  con- 
ceived the  idea  of  writing  the  story  of  his  ex- 
perience and  of  sending  it  to  SCREEN- 
LAND.  Now  that  it  is  printed  he  will  be 
able  to  show  this  issue  to  Mr.  Olcott. 
Do  you  think  he  will  get  a  part? 


concern  for  the  leading  man, 
as  the  fact  that  they  will  be 
in  the  closeups  and  perhaps 
be  noticed  by  some  director 
in  the  search  for  new  talent. 

The  colossal  conceit  of 
many  of  the  extras  is  amaz- 
ing— and  interesting.  Here 
sits  a  woman,  no  longer 
young,  not  even  good  look- 
ing, her  face  veiled  accord- 
ing to  the  Mohammedan 
custom.  All  day  long  she  gazes  into  her  make  up  mirror, 
adds  a  bit  of  mascara  to  the  eyes,  a  touch  of  powder  to 
the  brow,  because  as  she  says,  "they  must  see  our  eyes  and 
we  are  to  be  in  some  closeups."  Alas,  for  the  lady's  faith 
and  hope — the  closeups  of  the  eyes  never  materialized. 
Here  is  another  young  man  with  an  atrocious  make  up,  who 
confides  that  the  director  has  been  watching  him  all  day 
and  must  be*  figuring  on  him  for  a  special  bit.  Later  in  the 
day  several  are  selected  for  other  work,  and  he  is  omitted. 

In  this  business  of  being  an  extra  it  is  comparatively 
easy  to  find  much  the  same  general  classifications  that  one 
does  in  other  lines  of  endeavor.  There  are  the  people  who 
try  to  do  intelligently  as  they  are  told,  others  who  know  it 
all.  There  is  the  one  who  is  continually  trying  to  curry 
favor  with  the  director  or  his  assistants.  There  are  those 
whose  every  move  must  be  explained  over  and  over  again, 
and  others  whose  natural  intelligence  makes  it  easy  for 
them  to  give  realistic  portrayals  of  the  characters  they 
represent.  There  is  the  one  who  speaks  of  his  great  screen 
ambitions,  yet  hies  himself  away  to  the  furthest  corner  on 
the  set,  where  he  curls  up  for  the  day,  and  wonders  why 
some  one  doesn't  star  him.  Another  for  no  reason  at  all 
tells  me  all  his  troubles,  where  he  has  worked,  how  the 
directors  all  are  very  fond  of  him,  and  wonders  if  he  will 
work  tomorrow.  And  of  course  no  list  of  extras  would  be 
complete  without  one  who  takes  the  snapshots  that  will 
give  the  folks  back  home  an  opportunity  to  see  their  off- 
spring photographed,  for  one  cannot  always  be  sure  that 
the  finished  production  will  have  all  the  scenes  that  were 
taken ! 

In  the  game  of  real  life  we  all  play  our  little  parts  with 
hardly  a  trace  of  self-consciousness,  but  somehow  'm 
depicting  of  reel  life,  which  in  its  highest  form  should  be 


SCREENLAND 


75 


but  a  reflection  of  the  nrst,  most  of  us  become  unnatural, 
we  miss  the  little  things  that  make  us  human.  Certainly 
to  most  women  the  art  of  genteel  flirtation  is  not  hard  to 
acquire.    All  women  possess  a  bit  of  the  coquette  within 
them     Yet  a  simple  scene  requiring  a  suggestion  of  shy 
flirtation  was  persistently  over  and  under  acted.    Only  the 
patience  of  a  director  skilled  in  human  psychology  finally 
secured  the  right  touch  of  naturalness  from  the  girls.  An- 
other bit  inside  the  bar  held  up  proceedings  while  the  direc- 
tor showed  a  middle-aged  woman  how  to  show  the  perfectly 
natural  resentment  any  woman  would  feel  if  a  drunken 
sailor  chucked  her  under  the  chin.    Olcott's  face  is  a  study 
when  he  finally  secures  the  results  he  seeks.    He  is  as 
thoroughly  pleased  as  a  child  with  the  desired  stick  of  candy. 

The  work  is  over.  The  director  has  quite  forgotten  how 
hard  he  worked  with  some  of  us— it's  all  in  the  day's  work— 
and  thanks  us  courteously,  sincerely,  and  hopes  that  he  may 
again  be  able  to  use  us.    We  leave  vowing  that  Olcott  is 


a  splendid  fellow  and  a  wonderful  director.  It  is  so  easy 
to  keep  the  good  will  of  those  you  work  with;  Olcott  knows 
full  well  the  value  of  co-operation.  . 

Immediately  we  make  a  bee  line  for  the  dressing  rooms 
where  we  change  back  into  our  street  clothes,  remove  our 
make  up,  and  rush  to  the  wardrobe  to  return  our  costumes 
and  have  our  vouchers  OK'd,  so  that  we  can  collect  for 
our  work.  To  me  the  spectacle  of  the  extras  turning  in 
their  costumes  explained  why  most  of  them  will  never  be 
any  more  than  just  extras.  A  little  common  sense,  a  bit 
of  co-operation,  and  the  work  of  the  men  in  the  wardrobe 
would  have  been  expedited  one  hundred  per  cent,  and  all 
of  us  would  have  been  on  our  way  home  hours  sooner. 
But  no,  we  must  crush  and  push  and  jostle,  wrecking  each 
other's  tempers  and  getting  nowhere.  At  last  the  vouchers 
are  stamped,  and  we  pass  out  of  the  gates  prepared  to  start 
on  the  morrow  our  continual  round  of  the  casting  offices. 
The  experience  is  a  pleasant  one,  holds  a  world  of  interest. 


Imagine,  if  you  cant  fame 
and  fortune  (won  in  a  minute. 
Not  by  the  conception  of  a  great 
invention,  not  by  the  decisive 
punch  in  the  prize  ring,  but  by 
a  "bit  part"  in  Hollywood, 
magic  land  of  opportunity. 

"Recognized  in  the  Rushes" 
— in  the  January  issue,  'written 
by  Grace  Kingsley— describes 
dramatically  a  tense  scene, 
when,  the  action  over,  the  film 
is  given  its  first  showing  before 
the  little  gathering  of  director, 
staff  and  caste. 

All  the  great  moments  of  the 
pictures — L  i  I  I  tan  Gish  in 
"Broken  Blossoms"  or  Rudolph 
Valentino  in  "The  Four  Horse- 
men"—all  have  been  shown  as 
"rushes"  soon  after  the  pictures 
were  made. 

It  was  in  the  "rushes"  of  an^ 
unimportant  bit  that  one  of  our 
qreat  stars  was  discovered. 
Read  the  story  next  month. 


TWO  GIANTS 
The  giant  of  the  screen  on  the  right  is  Charles  Chaplin,  and 
the  gentleman  on  the  left  is  the  giant  of  the  Hagenbeck- 
Wallace  Circus.    He  stands  S  //.  +  in.  tall  and  in  Nogales, 
frizona. 


By  Marion  of 

Hollywood 


When  a  rumor  reaches  Marion,,  she  tells 
the  Kir  Mail  Man  and  he 
tells  our  printer. 


Q.  Kenneth  Harlan  and  Marie  Prevost  were  mar- 
ried on  October  i6t/i — and  they  can't  even 
have  a  regular-sized  honeymoon  because  the 
groom  has  to  start  in  a  neiu  picture.  Business 
before  pleasure/ 


.  They  Say — 

\f  >f  ~y  hen  Alice  Joyce  left  the  coast  for  New  York 
\\  /A  /  recently  she  informed  the  waiting  world  that 
W  W  she  is  through  with  the  screen— forever.  The 
call  of  home  and  her  babies  is  too  much,  she 
says.  Of  course,  a  woman  is  always  given  the  privilege 
of  changing  her  mind,  and  while  the  call  of  the  babies  is 
great  the  screen  might  just  be  able  to  call  a  little  louder 
and  pull  her  back  for  a  few  more  pictures.   We  hope  so. 

Two  very  important  things  have  happened  to  Bill  Hart 
since  the  last  issue  of  Screenland  was  published.  First, 
Bill,  Jr.,  has  had  his  second  birthday.  ,  (Does  it  seem 
possible  that  two  years  have  flown  since  the  little  imp 
first  put  in  his  appearance?)  Yes,  he  had  a  birthday  party 
and  everything,  and  his  proud  old  dad  sent  him  presents, 
good  luck  and  all.  Bet  he's  the  smartest  kid  on  earth — 
to  Bill,  anyhow. 

The  other  important  thing  is  that  Hart  has  broken  his 
ankle.  It  all  happened  to  save  one  of  his  pet  dogs  from 
falling  into  a  deep  ravine.  If  it  had  been  his  little  pinto 
pony  I  suppose  Bill  would  have  dropped  right  down  after 
him!  We  tried  to  buy  that  pony  once,  and  our  little 
"Whad'll  you  take  for  that  pony?"  came  pretty  near  being 
a  "famous  last  word." 

They  Say — 

Ocore  one  for  the  women!  At  least  one  of  her  sex  is 
^  far  from  being  "catty."  When  Ouida  Bergere  came 
back  from  Europe  with  her  official  divorce  document  re- 
lieving her  of  a  husband— Producer  George  Fitzmaurice— 
some  "kind  friend"  (they're  always  around)  told  her  it 
was  rumored  her  former  husband  and  Florence  Vidor  were 
soon  to  be  married. 


"Well,"  said  Miss  Bergere,  "this  much  I  know — he 
couldn't  marry  a  sweeter,  lovelier  woman  than  Florence 
Vidor." 

What  one  of  the  stronger  sex  would  say  such  kind 
things  about  his  rival? 

If  these  motion  picture  celebrities  don't  quit  getting 
married  so  suddenly,  without  a  bit  of  notice,  we're  going 
to  complain  to  the  License  Bureau  in  Los  Angeles.  With- 
out a  second's  notice,  all  in  the  same  day,  Betty  Comp- 
son  ties  up  with  James  Cruze  and  Marie  Prevost  says  the 
"I  wills"  with  Kenneth  Harlan.  Think  of  the  disap- 
pointed long-distance  swains  all  over  the  world!  This  is 
too  much  and  not  enough! 

A  young  lady  who  has  arrived  in  Hollywood  is  trying 
to  decide  whether  or  not  she  shall  sign  up  to  appear  in 
the  movies.  Can  you  imagine  anybody  taking  very  long 
to  make  a  decision  like  that?  She  hesitates  because  the 
producers  insist  she  is  a  little  too  chubby  and  will  have 
to  reduce  a  bit  and  stay  at  a  given  weight  in  order  to 
hold  her  contract.  Her  name  is  Jane  Constance  Loew, 
and  she  is  pretty  near  two  years  old.  Of  course,  because 
her  grand-daddy,  Mr.  Marcus  Loew,  wants  her  to  play 
in  Metro-Goldwyn-Mayer  pictures,  she  hesitates  to  sign  a 
contract  offered  her  by  her  other  grand-daddy,  Mr.  Adolph 
Zukor.    Gee,  it's  hard  to  be  a  poor  little  rich  girl! 

It's  funny  how  we'll  jam  and  crowd  and  rush  to  get 
to  a  theatre  where  there's  going  to  be  a  "personal  appear- 
ance" of  some  movie  star,  while  all  the  time  we  can  pass 
'em  on  the  street,  talk  to  'em  and  sit  right  side  of  'em 
at  the  show  and  not  even  know  it.  The  other  evening 
Eugene  O'Brien  and  Norma  Talmadge  walked  all  of  twenty 
blocks  along  Hollywood  Blvd.  and  we  saw  just  two  people 
recognize  them.  One  was  a  woman,  who  pointed  them 
out  to  her  escort.  "Gee,  ain't  he  grand?"  she  said,  and  he 
answered:  "Norma's  sure  a  swell  looker."  And  no  one 
else  even  saw  them. 

The  other  night  Pola  Negri  and  Rod  La  Rocque  were 
at  one  of  the  Los  Angeles  picture  shows — sitting  right  side 
of  the  whole  world.  (Yep,  they're  pretty  strong  for  each 
other  yet).  But  nobody  seemed  to  know  or  notice  them. 
Lon  Chaney  was  standing  in  line  getting  tickets  to  see  one 


76 


Cl"He's  such  a  li'l  feller,"  but  he's  only  four  months 
ready.   He's  James  Kirkwodd,  Jr.,  and  his  mommy 

of  his  own  pictures— was  jostled  around,  stepped  on,  pushed 
and  crowded,  and  heard  many  interesting  comments  about 
how  the  crowd  likes  his  work.  But  nobody  knew  or 
noticed  him.  You  see,  you  just  don't  expect  to  see  'em, 
and  so  you  just  don't  look  for  'em.  But  when  there's 
one  of  these  famous  "openings,"  the  streets  are  jammed 
for  blocks,  extra  police  are  called  out,  and  you  stand 
for  hours  trying  to  get  a  look. 

They  Say — 

John  Bowers  has  worn  out  three  hats  and  has  lost  many 
friends  in  the  last  month  all  because  his  curly  locks 
are  now  golden  instead  of  black.  He  has  had  his  hair 
bleached  for  a  part  in  Edna  Ferber's  "So  Big."  When 
John  meets  people  who  recognize  him,  the  first  thing  said 
is,  "Oh,  take  off  your  hat  and  let  me  see  your  hair."  Many 
of  his  best  friends  don't  even  speak  to  him  because  they 
don't  know  him.  On  a  set  one  day  was  a  fellow  he  had 
known  for  years.  "See  him,"  he  said  to  a  friend,  "I'd  al- 
most swear  that's  John  Bowers.  He  looks  like  him,  acts 
like  him  and  everything,  but  darn  it,  John  has  black  hair." 

They  Say — 

That  terrible  villain,  Clarence  Burton,  has  adopted  a 
little  twenty,  months'  old  baby  girl.  Her  name  is 
Betty  Ann,  and  she  has  entirely  upset  the  Burton  house-  ■ 
hold.  Nobody  can  put  her  to  bed  but  Clarence.  Nobody 
can  dress  her  but  Clarence.  He  can't  leave  the  house 
without  her,  and  he  can't  take  out  the  car  unless  she  goes, 
too.     And,  say,  Clarence  doesn't  like  to  tell  you  about 


old  here,  and  looks  like  his  daddy  al- 
Lila  Lee,  says  he's  the  new  boss. 


q  Another    bride    and  groom— Mi  .   and  Mrs. 
'  James    Cruze.    Note   the    latest     What  tin 
men  will  wear"  for  bridegrooms. 


78 


SCREENLAND 


some  of  them.  What  we're  interested  in,  though,  is  his 
"spectacle"  shot.  We  are  informed  that  it  will  be  a  "Candy 
Ball."  Everything  will  be  candy — the  walls,  the  flowers, 
the  chairs,  the  tables — everything.  It  most  likely  would 
taste  as  good  as  it  sounds. 

Tully  Marshall  is  the  first  player  engaged  by  Eric  von 
Stroheim  to  play  in  his  Mae  Murray  picture,  "The  Merry 
Widow."  They've  been  a  long  time  getting  ready  for  this 
one,  but  Stroheim  always  does  take  his  time.  The  role 
of  Prince  Danillo  is  still  undecided.  Every  one  out  this 
way  has  been  thought  of  and  has  had  high  hopes,  and  it 
will  mean  a  lot  to  the  one  who  ropes  it  in.  After  "His 
Hour,"  John  Gilbert  certainly  looks  like  the  best  bet. 
With  Marcus  Loew  on  the  coast — perhaps  to  keep  a 
sort  of  restraining  hand  on  the  impractical  Eric — they 
ought  to  get  under  way  pretty  soon. 

Milton  Sills  has  been  signed  by  First  National  to  play 
in  their  pictures  for  two  years,  and  then,  at  the  end 
of  that  time,  to  direct!  That  looks  pretty  good  for  us 
movie  fans,  because  Sills  ought  to  know  his  stuff  when 
it  comes  to  directing.  Just  now  the  press  agents  tell 
us  that  Sills  has  left  the  coast  to  make  a  picture  in 
New  York — the  first  eastern  production  he  has  made  since 
he  arrived  in  Hollywood  after  the  armistice. 

Gosh,  but  it's  hard  to  keep  track  of  these  players  and 
their  productions.  Yesterday  comes  along  an  announce- 
ment that  Robert  Frazer  will  play  in  Frank  Lloyd's  new 
one,  "Judgment" — and  this  morning  he's  loaned  by  Lloyd 
to  play  with  Bebe  Daniels  in  her  new  picture.  "Miss 
Bluebeard."  Yesterday  Tony  Moreno  was  going  to  play 
the  lead  in  Rex  Ingram's  "Mare  Nostrum,"  and  this  morn- 
ing, before  he  goes  to  Spain  to  play  that  part,  they  tell 
us  he's  going  to  take  Frazer's  place  in  "Judgment."  It's 
a  wise  wife  who  knows  where  her  husband  is  these  days! 

Incidently,  when  Tony  goes  to  Spain  for  "Mare  Nos- 
trum," he's  going  to  get  a  free  trip  back  home  to  see  his 
mother.  She  lives  in  a  little  town  called  Campemento, 
right  near  Gibraltar,  and  scenes  from  the  picture  will 
be  taken  very  near  there.  Already  Campemento  is  get- 
ting ready  for  a  gala  time.  Isn't  the  prodigal  returning— 
famous,  generous,  wealthy  and  full  of  marvellous  tales 
of  the  glorious  American  land? 


Hollywood  Work  Schedule- 

-from  page  27 

Studio 

Star 

Director 

Title 

Remarks 

Sennett 

Harry  Langdon 
Ralph  Graves 
Ben  Turpin 
Billy  Bcvan 

Harry  Edwards 
Ed  Kennedy 
Reggie  Morris 
Ralph  Ceder 

Untitled 
Untitled 
Untitled 
Untitled 

Preparing 
Shooting 
Shooting 
-  Shooting 

First  National 

Cosmopolitan 
Frank  Lloyd 

Doris  Kenyon 
Colleen  Moore 
Marion  Davies 
All-Star 

Geo.  Fitzmaurice 
Chas.    Brabin  . 
George  Hill 
Frank  Lloyd 

"The  Thief  in  Paradise" 
"So  Big" 

"Zander  the  Great" 
"Judgment" 

Shooting 
Shooting 
Shooting 
Shooting 

Universal 

(Fred  Dating  Casting) 

Aubrey  Rock 
Joe  Rock 

All-Star 
Lon  Chaney 
Reginald  Denny 
House  Peters 
Bonomo-Lorraine 

William  Desmond 
Jack  Hoxie 
Laura  La  Plante 
Jimmy  Aubrey 
Stan  Laurel 

Herbert  Blache 
Rupert  Julian 
Harry  Pollard 
King  Baggott 
Edw  Solomon 
J.  Marchant 
Edw.  Laemmle 
Zion  Myers 
Ernest  Laemmle 
Arthur  Rosson 
Cliff  Smith 
William  Seiter 
Tweedy 

Percy  Pembroke 

"Oats  for  the  Women" 
"Phantom  of  the  Opera" 
"Calif-straight  Ahead" 
"Raffles" 

"Up  the  Ladder" 
"The  Leopard's  Lair" 
"The  Stairway  of  Hope" 
"Subway  Series" 
Untitled 
Untitled 

"Don  Dare  Devil" 
"Ann's  Idiot" 
2-Reel  Comedy 
2-Reel  Comedy 

Preparing 
Shooting- 
Shooting 
Shooting 
Shooting 
Working 
Working 
Preparing 
Preparing 
Preparing 
Shooting 
Preparing 
Preparing 
Shooting 

Van  Pelt-Wilson 

Al  Wilson 

Bruce  Mitchell 

"Cloud  Rider" 

Shooting- 

Vitagraph 

(Paul   Wagar  Casting) 

J.  Stuart  Blackton 

"The  Pearls  of  the 
Madonna" 

Preparing 

Columbia 

(Harry    Kerr  Casting) 

All-Star 

Glen  Cavender 

"After    Business  Hours" 
"A  Fool  and  His  Money" 

Preparing 
Shooting 

Warner 

Willard  Lewis  and 
Dorothy  Dore 

H.  Beaudine 

"Plow  Baxter  Butted  In" 

Preparing 

Irene  Rich 
Dorothy  Devore 

H.  Beaumond 

Phil  Rosen 
Jimmie  Flood 

Wm.  Beaudine 

"The  Lost  Lady" 
"The  Eve's  Lover" 
"The    Bridge   of  Sighs" 
"The   Man   Without  a 

Conscience" 
"Broadway's  Butterfly" 

Shooting 

Preparing 

Shooting 

Shooting 
Shooting 

her  and  her  wonders!  A  little  kid  shall  lead  them  is  no 
joke. 

Ernest  Torrence's  young  son,  Ian,  is  a  property  boy  with 
the  "North  of  36"  company.  He  doesn't  want  to  be  an 
actor,  he  says.  He  wants  to  shout  through  the  mega- 
phone and  be  a  director. 

Hollywood's  a  funny  place!  There  a  day  may  make  all 
the  difference  it  would  take  years  to  make  in  other 
places.  I  once  heard  a  screen  player  say,  "They  make 
you  a  snob  in  Hollywood.  They  force  you  to  be  ritzy 
and  unfriendly,  and  then  they  start  saying,  'Oh,  he's  too 
stuck  up  nowadays  to  speak  to  anybody.  I  remember 
when  he  didn't  have  a  cent  and  knew  how  to  say  'hello.'  " 
All  of  which  is  perfectly  true.  One  day  you're  nobody; 
everybody  knows  it,  and  nobody  knows  you.  The  next 
day,  very  suddenly,  you  sign  a  contract,  you're  somebody, 
everybody  knows  it  and  everybody  knows  you.  Who 
wouldn't  get  sore  and  ritzy  and  feel  like  telling  them 
where  to  head  in?  Which  brings  us  down  to  a  real 
case.  Three  months  ago  William  K.  Howard,  young,  am- 
bitious, full  of  hope  and  faith,  couldn't  get  anywhere  near 
a  studio.  Nobody  knew  him  and  nobody  wanted  to  know 
him.  He  was^  nobody.  He  couldn't  have  raised  the 
price  of  a  shoestring  hardly.  The  only  person  who  really 
believed  in  him  and  knew  he  had  the  goods  was  his 
wife.  Today  he  holds  a  nice  little,  fat,  pretty,  glorious 
contract  to  direct  Paramount  pictures.  How  he  did  it 
nobody  knows  and  nobody  cares.  He  did  it,  and  that's  all 
that  matters.  Now  he's  "Bill"  to  folks  who  three  months 
ago  didn't  know  him  and  didn't  want  to  know  him. 
And  now,  if  he  does  get  ritzy,  they'll  start  talking  about 
how  "Howard  has  the  'fat-head.'"  We're  for  him!  We 
hope  he  makes  a  big  success;  and  if  he  hands  a  whole 
bunch  of  people  the  "rawsberry,"  we're  there  to  help  him 
twit  his  fingers  at  'em,  too.  Now  that's  off  our  chest  we 
feel  better. 

They  Say — 

sr^EciL  B.  De  Mille  has  started  another  picture.  Above 
V-y  all  things,  he  has  a  great  cast— Rod  La  Rocque,  Vera 
Reynolds,  Lillian  Rich,  Warner  Baxter,  Henry  Walthall, 
Robert  Edeson,  Julia  Faye,  Emily  Fitzroy— and  that's  only 


6T7his  Q/ear 


Has  the 


ONEY 


George  O'Brien  Plans  to  Blow  the  Roll 


T 


""^his  will  be  the  first  Christ- 
mas when  the  O'Brien  smile 
can  be  backed  up,  without 
reservation,  by  the  spirit  be- 
hind it. 

All  his  life  George  O'Brien  has  just 
naturally  wanted  to  give  things  away. 
When  he  was  a  little  boy  he  looked 
often  with  covetous  eyes  upon  a  large 
gilt  badge  which  lay  around  the  house, 
quite  uselessly,  of  evenings.  That 
badge  belonged  to  his  father,  who 
was— and  still  is— chief  of  police  in 
San  Francisco.  And  then  one  day 
George  decided  upon  the  right  place 
for  that  badge— he  calmly  handed 
■  he  golden  shield  of  Frisco's  chief  to 
a  leather-faced  old  patrolman  who 
almost  exploded  with  misgivings  and 
embarrassment. 

As  soon  as  he  was  relieved  of  his 
patrol  beat  the  officer  hurried  to  head- 
quarters and  sought  "th'  ould  man,'' 
to  whom  he  explained.  But  he  wore 
the  bronze  badge  of  a  sergeant  when 
he  came  out  of  the  building,  and  at 
home  that  night  "th'  ould  woman" 
proudly  sewed  on  his  new  chevrons. 
The  generosity  of  George  O'Brien  had 
scored  its  first  point. 

Up  in  Nevada,  where  John  Ford 
nlmed  "The  Iron  Horse,"  O'Brien 
became  fast  friends  with  all  the  In- 
dians on  the  Pyramid  Lake  reserva- 
(Continued  on  page  90) 


George  O'Brien  with  little  Mud-tn-the-Face 
in  his  arms.  That's  how  it  is  with  George, 
on  the  reservations  or  without  reservations,  he 
knows  how  to  treat  'em. 


•The  Man  Who  Came 
Back''  brought  George 
O'Brien  more  money 
and  fame. 


79 


SCREENLAND 


Another 
$10  Raise! 


THAT  makes  the  second  increase  in  salary 
in  a  year,  and  I'm  earning  $45  a  week  now. 
That's  pretty  good  for  a  girl.  It  certainly  was  a 
lucky  day  for  me  when  I  decided  to  take  up  that 
I.  C.  S.  course."   

Why  don't  you  study  some  special  subject  and 
prepare  to  earn  more  money?  There's  no  surer  way 
to  do  it  than  by  studying  at  home  in  spare  time  with 
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The  I.  C.  S.  has  a  number  of  courses  especially 
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sales  executives,  office  managers,  advertising  writers 
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Mark  and  mail  the  coupon  and  we'll  be  glad  to 
Bend  you  interesting  descriptive  booklets  telling  what 
the  I.  C.  S.  can  do  for  you. 

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Without  cost  or  obligation,  please  send  me  your  48-paga 
booklet,  "How  Women  Are  Getting  Ahead/'  and  tell  me 
how  I  can  quality  for  the  position  or  in  the  subject  before 
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□  Advertising 
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Joan  hoivell — Continued  from  page  30 


"You  seldom  see  the  albatross.  I've 
only  seen  six  in  all  those  fourteen  years. 
And  the  nearest  one  to  shore  was  3,000 
miles  from  South  America. 

"If  you  snare  them  aboard  ship  they'll 
bite  on  a  piece  of  pork,  but  you've  got 
to  haul  them  in  quick  with  no  slackening 
of  the  line — they  cannot  leave  it.  For 
the  poor  bird  can  only  fly  from  water. 

"Sailors  are  ever  in  such  peril — climb- 
ing up  a  mast  in  a  gale,  being  rocked  now 
to  the  right,  high  over  the  sea,  and  now 
to  the  left.  Sometimes  their  fingers  siip 
when  they're  splicing  a  cable.  Sometimes 
the  sails  belly  and  knock  them  into  the 
sea.  I  saw  one  man  knocked  overboard 
that  way.  We  tacked  ship  and  searched 
for  him.  But  he  never  came  up.  The 
sharks  were  plenty  there. 

"Sometimes  a  rope  gets  chafed,  and 
something  drops.  Sometimes  there  are 
typhoons  or  hurricanes,  or  hidden  rocks. 

"No,  a  sailor  would  never  harm  the  al- 
batross, the  soul  of  a  dead  sea  skipper. 
He  might  be  dead  before  the  night." 

What  was  she  saying?  Oh,  yes,  about 
the  screen  test. 

"One  day  they  called  me  up  and  asked 
me  to  come  and  see  myself  as  I  looked 
upon  the  screen.  I  went  in  fear,  and  I 
stayed  in  misery.  I  thought  I  had  never 
seen  any  girl  so  clumsy,  so  awful,  so  un- 
lovable anywhere,  and  I  could  hardly  be- 
lieve the  girl  I  saw  before  me  was 
myself. 

"I  was  crying  so  bitterly  when  I  came 
out  of  the  projection  room,  and  I  was  so 
ashamed  at  what  I  had  seen,  that  I  be- 
came angry  when  someone  touched  me 
on  the  shoulder  and  spoke  my  name.  I 
wanted  to  get  out  without  seeing  any  one, 
without  any  one  seeing  me. 

"  'Let  me  alone,'  I  said.  I  couldn't  look 
at  him. 

"  'Let  you  alone?'  he  said.  'Not  on 
your  life.  You've  got  to  sign  a  contract 
with  me  right  here  and  now.  You  photo- 
graph like  a  million  dollars,  young  lady. 
You're  a  beautiful  girl  and  extraordinary 
girl,  and  you  can  act.  You've  got  to 
stay  with  us." 

And  there  she  is,  shanghaied  into  the 
movies,  and  on  her  way  to  stardom.  Al- 
ready she  receives  fan  letters,  proposals, 
invitations,  letters  asking  her  advice. 
When  she  goes  to  San  Francisco  there's 


a  crowd  at  the  station  waiting  impatiently 
for  the  train. 

She  has  been  studying  hard,  Englisr 
and  arithmetic  and  dancing  and  ballroom 
manners,  just  as  she  studied  aboard  ship 
and  in  the  school  at  Berkeley. 

"My  father  taught  me  English  out  of 
the  Bible."  she  said,  "and  he  used  to 
swear  like  a  pirate  when  I  made  mis- 
takes. I  learned  arithmetic  from  the  tide 
tables,  and  I  must  have  known  some- 
thing of  logarithms  to  be  able  to  shoot 
at  the  sun.  But  I  didn't  know  I  knew 
it.  And  it's  difficult  learning  it  all  over 
again.    How  difficult  I  can  hardly  say." 

Miss  Lowell  lives  in  a  little  bungalow, 
and  she  has  furnished  it  with  everything 
she  has  ever  dreamed  of  having.  Her 
father  lived  with  her  for  a  time — but  he 
couldn't  stand  the  monotony.  He  has 
taken  a  place  at  San  Pedro,  and  the 
mother  and  the  other  children  are  there. 

"He  never  felt  a  qualm  in  guiding  the 
ship  through  hurricanes,"  says  Joan.  "He 
knew  just  what  to  do.  He  could  always 
sense  the  changes  of  the  weather.  But 
he  almost  died  of  fright  when  I  took 
him  down  town  in  my  Ford. 

"And  once  when  I  cut  a  button  he 
yelled,  'Go  round  the  rocks.  Joan!  For 
God's  sake  steer  it  around.'  " 

She  lives  alone,  but  she  always  sets 
places  for  two.  And  she  cooks  on  her 
own  gas  stove. 

"I  couldn"t  cook  for  myself  alone,"  she 
explains,  "so  I  pretend  that  someone  is 
coming  to  dinner,  or  to  lunch.  I  serve 
two  portions,  and  they're  both  small — so 
I  can  eat  them  both  without  hurting  my- 
self— and  I  pretend  all  the  time  that  I'm 
conversing  with  my  guest. 

"Otherwise  I'd  die  of  lonesomeness." 

One  moment  before  you  go.  Miss 
Lowell  digs  up  a  postcard  from  Swede 
Nelson — now,  poor  fellow,  living  in  Snug 
Harbor,  which  is  the  poor  house  of  sea- 
faring men. 

"Wishing  you  a  Merry  Christmas,"  it 
reads,  "and  remembering  a  calm  dead 
sea,  and  the  Southern  Cross  ahead." 

"Sailors  never  forget  a  friend,"  Joan 
says.  "And  that  to  me  is  the  ideal 
Christmas  gift.  I  never  knew  that 
Christmas  meant  the  giving  of  presents — 
until  a  year  or  so  ago.  To  me  it  always 
meant — well — just  peace.  A  calm  dead 
sea,  and  the  Southern  Cross  ahead!" 


The  December  issue  of  REAL  LIFE  STORIES  contains  "The  Wind  at  Seldon 
Bar,"  a  story  of  beating  waves  and  throbbing  hearts  and  a  little  girl  who  made  herself 
worthy  of  being  loved  AND  MANY  OTHER  STORIES  including  "Peter's  Neigh- 
bor." Read  of  the  great  love  of  Peter  and  how,  in  spite  of  his  clumsy  words,  the 
girl  with  the  snow  flakes  on  her  bright  hair  understood. 


SCREEN  LAND 


81 


Heard 


in 


Hollywood 

spiv, 

By  Grace  Kmgsley 


ntonio  Moreno's  mother  is  to  meet 
him  at  the  boat  when  he  arrives  in 
Spain,  and  will  be  with  him  until  he 
leaves.  He  hasn't  seen  his  parents  since 
he  left  his  native  land,  a  stow-away  on 
a  steamer,  when  he  was  a  mere  youth. 
The  wife  of  the  star  will  accompany  him 
;o  Spain. 

Every  one  in  filmland  is  mourning  the 
passing  of  Kate  Lester,  who  played  so 
many  grand  dames  in  pictures.  •  Mrs. 
Lester  was  burned  in  a  mysterious  ex- 
plosion occurring  in  her  dressing  room  at 
Universal  City,  following  her  day's  work. 
From  all  accounts  gas  had  been  left  run- 
ning, and  caught  fire  when  she  attempted 
to  light  it  at  the  end  of  the  day.  She 
was  carried  to  the  Universal  City  Hos- 
pital, and  tenderly  cared  for,  but  died 
within  twenty-four  hours. 

Kathlyn  Williams  is  to  take  another 
trip  to  the  Orient,  visiting  India,  Burma 
and  adjacent  countries. 

She  will  take  the  trip  overland  from 
Singapore  to  Bankok— the  trip  which  re- 
quires the  trains  to  stop  at  night  be- 
cause elephants  and  other  jungle  beasts 
get  on  the  track. 

Miss  Williams  will  be  in  Calcutta  for 
Christmas.  She  will  meet  her  husband, 
Charles  Eyton,  in  Colombo  (he  has  been 
travelling  through  Europe).  She  expects 
to  be  gone  about  six  months. 

Seena  Owen  has  come  to  Hollywood, 
and  says  she  is  going  to  stay.  She  has 
taken  a  house  with  her  brother,  and  is 
sending  for  her  mother,  who  is  in  New 
York,  and  for  her  little  daughter. 

Sheila  O'Malley,  aged  three  and  a  half, 
was  a  very  bad  girl.  She  was  severely 
punished  by  her  illustrious  father,  Pat 
O'Malley,  when  he  denied  her  the  daily 
ice  cream  cone  and  put  her  to  bed. 

"Daddy  darling  "  began  Sheila  in 

an  effort  to  win  Pat  over. 

"I'm  not  your  daddy  any  more.  Go 
to  sleep,"  admonished  Pat. 

A  few  minutes  later  a  tiny  voice  came 
to  Pat. 

"Mr.  O'Malley,"  it  said,  "please  give 
me  a  drink  of  milk!" 

Dangers  by  flood  and  fire  are  always 
the  portion  of  the  film  actor.  But  added 
to  these  in  the  life  of  Milton  Sills  is  the 
inevitable  fight  with  the  fists. 

Sills  took  on  Tom  Kennedy,  former 
heavyweight  contender,  in  a  thirty-two 


minute  bout  during  the  making  of  "As 
Man  Desires,"  at  United  Studios.  It 
was  a  real  set-to,  much  heavier  than 
would  be  seen  in  most  boxing  rings. 
During  the  course  of  the  mill  Sills  had 
his  jaw  dislocated.  But  what  he  did 
to  Kennedy  was  a-plenty.  He  bruised 
him  up  and  broke  the  slugger's  thumb. 
So  Sills  thinks  he  isn't  so  bad,  after  all. 

Claire  Windsor  is  back  at  work  for 
Goldwyn  again.  She  took  a  short  vaca- 
tion at  the  milk  farm  in  order  to  put 
on  some  weight.  She  says  that  she  got 
a  lot  of  sewing  done,  because  there  was 
nothing  else  to  do.  She  made  some 
beautiful  articles  of  lingerie  besides  a 
couple  of  shirts  for  her  little  boy. 

Over  at  United  Studios  the  players  are 
beginning  to  think  that  First  National 
has  cornered  all  the  riparian  rights  for 
pictures. 

It  would  seem  indeed  that  before  a 
new  player  can  be  starred  or  featured  in 
First  National  pictures  she  must  first 
submit  to  a  baptism  by  water. 

First  it  was  Doris  Kenyon,  whose  in- 
troduction to  "If  I  Marry  Again"  was  a 
week's  soaking  by  a  hose  pipe  in  order 
that  she  might  give  the  illusion  of  hav- 
ing been  through  a  tropical  rainstorm. 

Then  Viola  Dana  joined  the  First  Na- 
tional outfit,  to  play  the  part  of  a  native 
dancing  girl  in  "As  Man  Desires,"  oppo- 
site Milton  Sills.  In  her  first  scene  she 
jumps  into  the  briny  at  Catalina  to  swim 
to  a  boat  anchored  off  the  shore.  In 
subsequent  scenes  at  the  studio,  she  had 
to  submit  to  the  same  hose  as  Miss  Ken- 
yon, that  she  might  give  the  appearance 
of  having  swum  a  considerable  distance. 

But  these  two  players  were  not  the 
only  ones  to  get  drenched,  for  at  the 
same  time  that  Miss  Kenyon  and  Miss 
Dana  were  getting  theirs,  Corinne  Grif- 
fith was  going  through  the  same  experi- 
ence in  "Wilderness,"  in  which  she  also 
is  thoroughly  soaked  in  a  rainstorm 
scene. 

Riding  a  phantom  horse  over  a  phan- 
tom bridge  is  all  right  for  a  phantom, 
but  when  it  comes  to  a  real  flesh  and 
blood  girl  doing  it — well,  that's  something 
else  again,  as  Mr.  Potash  would  say. 

Mary  Philbin  has  to  do  it  in  "The 
Phantom  Opera,"  and  while  she  has 
learned  to  ride  horseback,  she  is  a  bit 
scared  of  the  great,  beautiful  black  horse 
she  is  supposed  to  ride  in  this  picture. 
The  pace  is  a  very  fast  one. 

"And  besides,"  said  Mary  wistfully  the 
other  day,  as  we  sat  looking  at  her 
equine  partner  in  the  scene,  "he  does 
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Hector  Sarno.  a  leading  screen  char- 
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the  victim — or  was  it  the  beneficiary? 

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Dana  appears.  Hector  plays  a  Tahiti 
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It  was  like  a  rifle  shot — but  it  was 
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"But  don't  let  it  become  a  habit!" 
admonished  the  tiny  Viola. 

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were  staked  against  the  word  of  a  mo- 
tion picture  producer.  In  the  face  of 
the  numerous  forest  fires  which  have 
been  raging  in  California  for  the  past 
three  months.  B.  P.  Schulberg  was 
granted  special  permission  to  start  a  for- 
est fire  of  his  own  for  his  new  Preferred 
picture,  "White  Man,"  directed  by  Louis 
Gasnier. 

The  producer  gave  his  word  to  the  au- 
thorities that  every  precaution  would  be 
taken  by  him  to  confine  the  fire  to  its 
limits.  A  young  army  of  forest  fire 
fighters  and  complete  apparatus  stood  by. 
prepared  for  action,  and  witnessed  one 
of  the  most  spectacular  conflagrations  in 
California. 

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reproduction  of  an  African  village,  with 
its  kraals,  caias  and  mahogany  trees,  is 
estimated  at  $10,000,  while  the  cost  of 
safeguarding  other  property  was  nearly 
twice  that  much. 

Alice  Joyce  was  the  heroine  of  the 
picture,  who  heroically  dragge.d  the 
wounded  Kenneth  Harlan  from  the  flam- 
ing African  hut. 


In  the  November  issue  of  SCREEN- 
LAND,  a  prize  was  offered  for  a  letter 
telling  "How  I  Was  Influenced  by  the 
Movies."  Among  the  many  letters^  that 
were  received,  there  was  one  so  simple 
and  straightforward  that  the  prize  has 
been  awarded  to  its  author,  Master 
Everett  Shepard. 

His  letter  follows: 

1212  Bresee  Avenue, 
Pasadena,  California, 
November  3,  1924. 

Dear  Editor  Screenland: 

It  chanced  one  day  that  two  boys  went 
out  to  Hollywood  to  Grauman's  Egyp- 
tian Theatre  to  see  THE  TEN  COM- 
MANDMENTS. 

One  of  these  boys  had  told  a  lie  to  ob- 
tain the  price  of  his  ticket.    On  the  way 

home,  he  said  to  his  companion,  "B  

lend  me  a  dollar." 

"Sure,  why?" 

"Well,  I  broke  one  of  these  Ten  Com- 
mandments today,  and  I'd  like  to  square 
it  with  Mom." 

Such  pictures  as  that  have  the  greatest 
of  influence  for  good. 

Sincerely, 

EVERETT  SHEPARD. 

P.  S.—I  was  the  lad  who  b^rds>  d  the 
dollar. 


New,  Special  Features  In- 
troduced for  First  Time 


DoKou 
Feel 

a  Dummy 
at  a 

Do  you  sometimes  stay  away  from 
dances,  dinners,  and  other  social 
gatherings  because  you  feel  that 
you  will  not  appear  to  advantage? 

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vous— constrained — embarrassed?  Are 
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Thousands  of  the  best  kind  of  people 
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S  GREENLAND 


83 


The  New  Book  of  Etiquette  by 
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Every  woman  who  wants  to  live  a  normal, 
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"Tt  is  understood  that  Harold  Lloyd  and 
Jl  Rudolph  Valentino  will  make  their 
future  films  for  Famous  Players-Lasky, 
or  Paramount  Pictures  —  whichever 
trade-mark  you  prefer  to  call  the  well- 
known  brand  of  celluloid  product  of- 
fered by  Messrs.  Zukor  and  Lasky. 

Harold  came  to  New  York  a  month 
or  so  ago  ostensibly  on  a  vacation — to 
get  in  a  little  golf,  see  the  new  shows, 
and  all  that  sort  of  thing.-  But  while 
he  was  here  he  had  more  than  one  con- 
ference with  Famous  officials;  and  paid 
only  one  visit  to  the  Pathe  offices,  where 
he  used  to  hang  his  hat  almost  every 
day  on  other  sojourns  in  Manhattan.  He 
made  no  "statement,"  as  they  say,  be- 
fore he  went  away;  but  nobody  will  be 
in  the  least  surprised  to  hear  that  he 
will  work  for  Paramount  when  his  pres- 
ent contract  expires.  He  will  keep  his 
company  intact,  it  is  understood,  and 
will  not  alter  his  present  method  of  pro- 
duction materially. 

After  all  of  Rudie's  old  battles  with" 
Famous  Players,  the  pipe  of  peace  has 
been  dug  up  and  dusted  off;  and,  after 
he  makes  one  production  for  Ritz-Carl- 
ton  Pictures,  it  is  reported  he  will  go 
back  to  the  studios  where  he  made  "Mon- 
sieur Beaucaire."  Give  us  more  like  that 
one,  Rudolph,  and,  perhaps  - we  should 
add — Natacha. 

❖       *  * 

Corinne  Griffith  came  to  New  York 
for  a  few  days  to  talk  over  her  next 
production,  which  is  "Declasse,"  from 
Ethel  Barrymore's  stage  success  by  Zoe 
Akins. 

Corinne  is  one  of  the  most  interesting 
women  in  pictures,  principally  because  she 
is  a  paradox.  Her  soft  southern  beauty 
is  in  startling  contrast  to  the  courage 
with  which  she  fights  her  screen  battles: 
She  has,  strangely  enough,  real  ideals, 
and  is  determined  to  carry  them  into 
practice  in  the  filming  of  her  pictures. 
She  fought  to  weed  out  any  objection- 
able elements  in  "Single  Wives;"  and 
now  she  tells  us  that  at  last  she  is  to 
be  able  to  carry  out. her  own  ideas  about 
her  own  pictures.  "Declasse"  is  the  first 
picture  to  star  Corinne's  ideas  as  well 
as  Corinne's  beauty  and  ability.  Her 
company  is  to  have  the  final  word. 

While  she  was  in  the  east  the  star  met 
Zoe  Akins,  the  author  of  "Declasse,"  and 
obtained  her  hearty  cooperation. 

"I  was  never  so  happy  about  any  of 
my  pictures  before,"  she  said.  "And  I'm 
going  back  to  California  to  make  it  filled 
with  enthusiasm  and  ideas.  I'll  probably 
be  back  to  make  my  following  film  in 
the  east." 

Incidentally,  though  there  may  be 
some  difficulty  about  Miss  Griffith's  new 
pictures,  there  is  none  whatever  about 
her  new  husband.  Walter  Morosco  ac- 
companied his  wife  to  New  York,  and 
they  are  just  about  as  devoted  a  young 
couple  as  you'll  see  anywhere. 


SCREEN  LAND 


85 


>t4 


■  y,-: 


at 


Was  Cleopatra  Really 
Ever  Kissed  ? 


FAR  back  in  the  beginning  of  life, 
a  mother  pressed  her  lips 
against  the  lips  of  her  child — 
cries  and  save  it  from  the  wrath  of  the 
head  clansman.  The  dawn  of  mother- 
love,  the  origin  of  the  mother-kiss. 

But  when  did  the  miracle  of  love 
touch  the  heart  of  man?  When  did  the 
kiss  become  a  part  of  courtship  and 
marriage?     Was  Cleopatra,  Queen  of 


the  Nile  and  enslaver  of  Antony, 
really  ever  kissed? 

Here  is  truth  stranger  than  any 
fiction  you  have  ever  read — amazing, 
startling  things  about  yourself!  How 
old  is  human  marriage?  What  is 
religion?  Why  do  we  clothe  ourselves? 
When  did  man  begin  to  speak?  ?Iow 
did  our  savage  ancestors  explain  birth, 
death  ? 


Mans  Habits  Traced  Back 
Half  a  Million  Years 


For  the  first  time,  you  are  offered  a 
truthful  and  fearless  explanation  of  all 
j-our  habits,  customs,  instincts,  im- 
pulses, passions,  emotions.  What  do 
you  really  know  about  yourself?  What 
cave-man  instincts  are  slumbering  in 
your  soul  ?  Why  do  you  do  certain 
things,    and   say   certain   things,  and 


want  certain  things? 

Do  you  know  that  we  throw  rice 
after  a  bride  because  we  dare  not  say, 
in  words,  what  this  curious  old  custom 
suggests  ? 

Do  you  know  that  the  stork  myth 
originated  ages  ago  when  no  one  knew 
where  babies  came  from? 


"The  Customs  of  Mankind" 

BY  LILLIAN  EICHLER 

Unquestionably  one  of  the  most  important  books  of  the  year.  More 
fascinating    than    fiction,    more    informative    than    history,    as  enter- 
taining as  travel — 10,000  tales  about,  yourself! 

With  Hundreds  of  Amazing  Illustrations 


This  beautiful  new  book  makes  you  familiar 
with  yourself  for  the  first  time — reveals  to 
you  the  caveman  heritage  that  has  come  down 
to  you  through  the  ages.  It  is  absolutely 
unlike  any  book  you  have  ever  seen.  It  takes 
you  over  a  period  that  covers  half  a  million 
years,  leads  you  into  practically  every  coun- 
try, civilized  and  uncivilized,  in  the  world. 

Here  is  the  most  fascinating  reading  in  the 
world — your  own  self  revealed  to  you  as  it  has 


never  been  revealed  before !  And  illustrated 
not  only  with  ink  sketches  and  color  drawings, 
but  with  many  reproductions  from  actual 
photographs  I 

You  will  treasure  this  beautiful  book  a  life- 
time. Eery  member  of  the  family  will  enjoy 
it.  This  is  your  unique  opportunity  to 
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Do  H  You 

Know 

-why  we   shake  hands   in  greeting? 
— why  we   throw   rice   after   a  bride? 
— the    meaning    of    orange    blossoms  on 
the  bridal  veil? 
— how  the  Santa  Claus  myth  originated  ? 
— why -we  say  the  stork  brings  babies? 
— when    and    why    man    acquired  the 

habit  of  dress? 
-—why   13  is  said   to  be  unlucky? 
— why    the    Chinese    women  compress 
their  feet? 


IMPORTANT  OFFER 

Mail  the  coupon  and  you  will  be 
one  of  the  first  to  Teceive  a  copy 
of  "The  Customs  of  Mankind"  as 
soon  a?  it  is  off  press.  When  it 
arrives  give  the  postman  only  $2.98 
(plus  few  cents  delivery  charges)  in 
Cull  payment. 


Toil  have  the  guaranteed  privilege  of  re- 
turning the  book  within  5  days  and  hav- 
ing your  money  refunded  if  you  are  not 
delighted. 

Be  sure  to  get  your  copy  of  this  beau- 
tiful first  edition  at  the  special  price. 
Nelson    Doubleday,    Inc.,    Dept.  A-8712, 
Garden  City,  N.  Y. 


Nelson    Doubleday,     Inc.,     Dept.    A-8712,  Garden 
City,  N.  Y. 

You  may  enter  my  name  on  the  special  advance 
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Customs  of  Mankind"  by  Lillian  Eichler.  I  will 
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SCREENL AND 


Hobart  Henley  and  his  beauty  chorus  of  bathing  girls  who 
appear  in  his  production  "Free  Love"  for  Metro-Gohhvyn- 
Mayer. 


IR  THIS  MARVELOUS"RABON"RING  10  DAYS 
AT  OUR  EXPENSE  YOU  RISK  NOTHING  « 

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rainbow  brilliancy  and  are  actually  alive  with  fire.  "Rabon'' 

I  diamonds  almost  defy  the  life  time  diamond  expert.  Neither 
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I  yourself  its  amazing  qualities. 
No.  4  and  9  mounted  in  14  karat  gold  shell.  No.  2  mounted  in 
34karat  green  gold  finish.  No.  1,  7  and  10  massive  platinum 
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take  or  solid  gold  mounted  scarf  pin  to  those  ordering  two 
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Although  Gloria  Swanson  was  re- 
ported to  have  taken  to  heart  the 
kind,  but  firm  refusal  of  Sir  James  Barrie 
to  accept  her  in  the  role  of  "Peter  Pan," 
after  she  journeyed  all  the  way  to  Eng- 
land, as  is  rumored,  to  talk  it  over  with 
him,  and  even  after — also  rumor! — she 
offered  to  play  the  part  without  salary 
if  she  could  have  it— her  departure  for 
Paris  was  not  wrapped  in  gloom,  nor  has 
been  her  sojourn  in  the  French  capital. 
She  went  over  there  to  film  "Madame 
Sans  Gene,"  but  between  scenes  has 
found  time  to  captivate  the  French  press 
and  public.  Miss  Swanson  is  supported 
in  her  new  picture  by  Charles  de  Roche. 

Two  of  the  world's  hardest-boiled  men 
have  bowed  down  to  Lillian  Gish's 
silversheet  charm.  Joseph  Hergesheimer 
extolled  Lillian's  loveliness  a  month  or 
so  ago  in  an  enthusiastic  essay;  and  now 
George  Jean  Nathan,  champion  scoffer 
of  all  the  critics,  comes  forward  to  name 
Miss  Gish  as  the  one  and  only  queen 
of  the  screen.  Mr.  Nathan  says  that 
Alma  Rubens  comes  nearest  to  ap- 
proaching the  Gish  artistry. 

The   strange  thing  about  it  is  that 
Lillian,  although  she  knows  Mr.  Herge-- 
sheimer,  has  not  met  Mr.  Nathan;  and 
was  more  surprised  than  anybody  to  read 
of  his  admiration. 


j 

THE  RABON  CO.c  12  E.  22nd  St.,  Dept.103  NewYork  i 


ESTELLE 
work 


Taylor  has  gone  back  to 
She  is  making  a  picture  for 
an  eastern  company  with  one  of  those 
titles  about  desire  or  something.  If  Esr 
telle  is  engaged  to  Jack  Dempsey  she 
keeps  it  a  secret;  and  Jack  has  lately 
been  seen  in  Manhattan  in  the  company 
of  the  delicious  and  diminutive  Ann  Pen- 
nington. 


Estelle  hasn't  time  for  rumored  en- 
gagements anyway.  She  leaves  hei 
apartment  before  eight  thirty  in  order  tc 
get  to  the  studio  and  be  made  up  and 
on  the  set  by  nine.  Ob,  yes,  girls,  it's 
an  easy  life! 


Lillian  Gish  is  to  make  her  future 
productions  for  Metro-Goldwyn. 
Her  manager,  Charles  Duell,  made  the 
announcement  just  as  we  went  to  press, 
and  Lillian  crossed  her  heart  and  hopec 
to  take  terrible  close-ups  if  it  wasn't  true. 

Now  she,  and  her  admirers,  can  heave 
sigh  of  relief,  knowing  that  she  isn't  tc 
dash  off  to  France  or  Germany  or  even 
California. 


A  move  which  may  not  seem  to  mear 
much  to  you  in  the  audience,  but  never- 
theless will  play  an  important  part  in  the 
careers  of  several  of  your  favorites,  wa; 
consummated  the  other  day,  Josepi 
Schenck  has  joined  his  forces  with  the 
United  Artists.  In  case  you've  forgotten 
the  United  Artists  include  Mary  Pick- 
ford,  Douglas  Fairbanks  and  Charlie 
Chaplin.  This  means  that,  in  the  future : 
or  as  soon  as  the  current  Schenck  con. 
tracts  have  expired,  Norma  and  Cor 
stance  Talmadge,  and  possibly  Buste 
Keaton,  will  release  their  pictures  througl 
the  same  channels  which  now  handle  th< 
Pickf  ord,  Fairbanks  and  Chaplin  product; 
It  is  rumored  that,  in  time,  Mr.  Schenc) 
will  decide  to  let  Paramount  distribut. 
his  stars'  productions,  and  if  this  is  true 
then  the  Harold  Lloyd  and  Rudolpl 
Valentino  films  will  also  be  release 
through  Famous.   Anyway,  wait  and  set 


SCREENLAND 


83 


12-Inch  Hip  Reducer 
With  Laces 

Regular,  each  $7.50 

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12-Inch  Hip  Reducer,  with 
Laces,  Attractively  Trimmed 
with  Brocade 
No.  323— Mercerized, 
each  $9.50 


Free  Literature 

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and  I  will  send  you 
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Write  today. 


No  two  women  have  identical  bust,  diaphragm,  abdominal  or  hip 
measurements.  There  may  be  but  a  fraction  of  an  inch  in 
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be  "tight"  or  "loose"  places  and  imperfect  massaging.  There 
is  no  guesswork  about  an  Annette  Garment— because  there  is 
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A  Perfect  Fit  a  Vital  Point 

Only  in  this  way  is  assured  the  gentle,  healthful,  continual  and 
evenly  disposed  massaging  that  wears  away  fatty  tissue,  increases 
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fitting  Garment,  is  not  only  effective  in  reducing,  but  is  worn 
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For  Hip  Reducers,  send  measurements  of  waist,  hips  and  thighs 
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Yes  We  Have  No  Sex  Appeal — Continued  from  page  33 


Peggy  Hopkins  Joyce  has  just  brought 
her  beauty  into  the  movies.  Sex  appeal 
made  her  famous.  Will  the  camera  rec- 
ognize it? 

With  some  stars,  sex  appeal  appears  as 
beauty,  as  womanly  sweetness,  or  as 
youthful  pep.  With  little  Clara  Bow, 
it's  pep.  With  such  ladies  as  Barbara 
La  Marr,  it's  beauty.  With  Norma  Tal- 
madge  it's  a.  natural  combination  of  all 
three.  .  Alfred  Cheney  Johnston  told  me 
that  there  are  different  types  of  sex  ap- 
peal, but  that  the  highest  type  is  the  sub- 
tle, sweet  kind.  He  mentioned  Billie 
Dove.  But  Norma  is  the  outstanding 
example.  She  is  sex  appeal  at  its  best. 
She'd  laugh  at  you  if  you  suggested  that 
she  define  it.  She's  a  home-made  vam- 
pire who  doesn't  know  it.  A  diver's  suit 
or  a  rope  of  pearls — it's  all  the  same 
to  her.  She's  what  her  role  calls  for. 
If  she  really  appears  on  the  stage  as  the 
Madonna  in  Morris  Gest's  play,  ''The 
Miracle,"  she'll  be  as  much  at  home  as 
she  was  as  "The  Lady."  And  she  is  per- 
haps the  only  star  in  pictures  who  reg- 
isters just  as  heavily  with  women  as  with 
men. 

It  is  told  that  Colleen  Moore,  her- 
alded as  "the  perfect  flapper,"  before  be- 
ginning an  important  picture,  went  out 
to  a  farm  for  a  rest,  to  get,  as  she  her- 
self is  said  to  have  put  it,  "a  little  sex 
appeal." 

Is  sex  appeal  something  that  can  be 
turned  on  and  off,  like  electric  lights? 

Take  the  case  of  Betty  Compson. 
When  George  Loane  Tucker  selected  her 
to  play  the  part  of  the  passionate  Rose 
in  "The  Miracle  Man,"  Betty  had  been 
conspicuous  chiefly  as  a  bathing-girl. 
Then,  under  Tucker's  direction,  she  shone 


as  a  high-voltage  star;'  she  fairly  exude: 
sex  appeal.    A  long  list  of  program  pi: 
tures — and  her  sex  appeal  went  out!  No 
she  seems  to  have  turned  it  on  again. 

There's  Norma  •  Shearer.  For  year: 
she  played  simple  little  ingenues,  and  no 
body  paid  much  attention  to  her.  Sue 
denly  she  appeared  in  "Empty  Hands"— 
the  title  was  a  misnomer.  Norma  brough 
youth,  beauty,  charm,  everything  to  he 
role.  She  almost  set  the  film  on  fir 
more  than  once.  And  some  one,  onl; 
the  other  day,  said  that  Miss  Sheare 
is  reputed  to  possess  more  sex  appea 
than  any  girl  in  pictures.  I  remembei 
because  it  was  I  who  said  it.  Anywa> 
Norma  is  no  longer  employed  as  only  a 
ingenue.  She's  on  the  high  road  to  stai 
dom. 

Dorothy  Gish  may  have  had  sex  at. 
peal  before  "The  Bright  Shawl"  but  nc 
body  seemed  to  know  it.  As  the  Spar 
ish  dancer  she  clicked  mean  castenets. 

There's  Gloria  Swanson.  When  sh 
was  in  Cecil  de  Mille's  company  her  b 
zarre  appeal  was  capitalized.  In  her  rt 
cent  pictures  she  has  become  an  actres 
And  an  actress  doesn't  have  to  rely  upo- 
sex  appeal  to  put  herself  across.  In  "H< 
Love  Story"  Gloria  was  nearly  nun-li! 
— a  far  cry  from  the  glittering  seductre: 
of  several  years  ago.  To  get  back  i 
the  boys — Dick  Barthelmess,  the  litt 
gentleman  of  the  screen,  is  far  too  p> 
lite  to  emphasize  the  sheik  stuff.  But  1 
has  it,  just  the  same. 

The  screen's  first  vampire,  Theda  Ba 
— where  is  she,  now?  But  to  take  h 
place  there  are  a  thousand  synthet 
Thedas — 1924  sports  models,  still  ten 
mg  on  the  old  vamp-ground. 

Yes,  we  have  no  sex  appeal! 


Dramaland — Continued  from  page  59 


the  How  and  the  Wherefore-: 

Reel  One — The  Actor  is  "discovered" 
(as  we  dramatists  do  so  love  to  say) 
muchly  upset  and  already  doubting  the 
love  and  faithfulness  of  his  bride  of  six 
months.  And  being  an  actor  (and  the 
creation  of  the  brilliant  Mr.  Molnar)  he 
hits  on  a  strange  way  of  testing  his  wife's 
fidelity.  He  feels  that  he  knows  per- 
fectly the  sort  of  lover  she  would  take 
if  she  took  one.  He  is  convinced  it 
would  be  a  military  man — a  general, 
preferably  a  foreign  general. 

Reel  Two — So  our  young  Actor  pre- 
pares himself  for  the  role  and  plays  the 
part  of  a  Russian  Staff  Officer  and  Prince 
of  the  blood  royal.  It  is  he  himself  who 
is  the  Guardsman  with  whom  his  wife  is 
to  fall  in  love.  What  a  part!  What  a 
situation!  Should  his  wife  succumb  to 
the  charm  of  the  foreigner  then  he  is 
desolate  because  she  is  untrue  to  him. 
Should  she  not  succumb  then  perhaps  she 


has  recognized  him  and  he  is  a  rott 
actor.  Or  at  least  he  lacks  the  charr 
which  could  make  his  wife  fall  in  lo 
with  him  over  again. 

Reel  Three — On  the  pretext  of  a  thr 
days'  tour  our  Actor  leaves  and  enters  5 
disguise.  It  is  perfect.  Passing  befc 
her  window  his  wife  sees  him  and 
smitten  at  once.  He  begs  to  see  h 
She  admits  him.  He  is  ardent.  She  : 
pulses  him — but  with  reservations.  (Y 
know  those  women  whose  heads  she 
"no"  but  whose  hearts  cannot  hear  then 
He  presses  his  suit.  His  wife  is  about 
yield.  He  loses  nerve  and  gives  grou 
— fearing  to  be  too  successful.  He  leav 
making  an  appointment  for  a  meet: 
that  night — at  the  opera. 

Reel  Four — At  the  opera  he  appea 
His  wife  is  too  beautiful.  His  acting 
too  good.  He  is  unfaithful  to  himself  w 
his  own  wife. 

Reel  Five — Again  as  his  natural  s 


SCREENLAND 


89 


Could  She  Love  Him 

Were  He  Bald  ? 


□N  what  a  slender  thread  hangs  interest — Affec- 
tion— Love! 

She  notices,  for  the  first  time,  some  tell-tale 
;;pecks  of  dandruff  on  his  coat,  and  that  his  hair  is 
betting  thin  on  top.  What  if  he  should  lose  it ! 
,£ould  she  love  him  then — if  he  were  bald — bald  as 
jjncle  Charley? 

|]  The  very  thought  is  a  severe  shock  to  her,  for  she 
has  always  been  so  proud  of  his  personal  appear- 
jkm.ee — and  her  own.  Wherever  they  have  gone 
'  ogether,  the  verdict  of  their  friends  has  been, 
[What  a  good-looking  couple." 

:  But  if  he  should  lose  his  hair — if  he  had  a  shiny, 
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led  head — but  a  bald  head  .  .  . 
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SCREENLAND 

the  young  Actor  returns  home.  He  ac- 
cuses his  wife  of  unfaithfulness.  No,  she 
has  been  alone.  He  declares  she  has 
been  seen  with  a  Guardsman.  "What," 
storms  his  wife  indignantly,  "you  accuse 
me  of  betraying  you  with  a  soldier — a 
common  soldier."  Her  affected  grief  is 
so  real  that  the  young  Actor  apologizes 
for  doubting  that  which  he  knows  is  be- 
yond doubt.  Then,  unseen  by  her,  he 
puts  on  again  the  Guardsman's  costume. 
He  stands  before  her.  But  her  wits  are 
more  than  a  match  for  his.  Her  acting 
is  the  peer  of  his  own.  "So  you  still 
want  to  continue  your  little  comedy," 
she  says  smilingly,  as  though  she  had 


I! 


known  ail  along  that  the  Guardsman  v; 
her  husband.  He  is  stunned.  His  cu« 
has  failed.  His  acting  has  been  laughe 
at.  In  turn  his  wife's  mother,  her  frier, 
her  servant  all  come  into  the  room. 
a  sign  from  her  they  see  the  situatk 
and  lie  stoutly  to  defend  her.  The  cu 
tain  falls  with  the  young  Actor  no  betti 
off  than  he  was  when  it  arose.  Now  I 
must  doubt  not  only  his  wife,  but  h 
wife's  mother,  her  friend,  her  servai 
and  his  own  ability  as  an  actor  as  well 
And  so  there,  William  de  Mille,  is  tl 
material  for  a  brilliant  picture.  If  yc 
don't  grab  it  Mr.  Lubitsch  will. 


(\This  Year  He  Has  the  Money— from  page  79 


tion.  They  were  used  in  the  picture  and 
lived  on  location  with  the  cast.  Natur- 
ally, as  any  one  knows  who  ever  saw 
an  Indian  tribe,  there  are  numerous  lit- 
tle Indians.  They  took  to  George;  and 
when  he  went  away  after  the  job  was 
finished  they  gave  him  their  sincere  best 
wishes. 

This  Christmas,  for  the  first  time  in 
his  life,  George  O'Brien  has  more  money 
than  he  knows  what  to  do  with,  And 


what  a  Christmas  he  has  arrange 
through  Santa  Claus,  for  those  Indi: 
youngsters  of  the  Nevada  location!  O 
Kris  Kringle  will  have  to  ride  into  Pyr 
mid  Reservation  .  on  a  track.  Color 
beads  and  blankets,  drums,  pop  gur. 
candy  and  fruit  there  will  be — but  tl 
heaviest  of  his  load  will  be  Geor; 
O'Brien's  expressions  of  thankfulness  f 
the  good  luck  wishes  which  came  true. 


Q[The  award  in  the  Mae  Murray  Slogan  Contest 
has  been  made,  and  full  announcement  will 
appear  in  the  January  issue  of  SCREENLAND 


Q.Harry  Langdon  said,  "1  can  be  a  good  street-cleaner,  J  can." 


SCREENLAND 


It-views  in  Brief— Continued  from 
page  49 

dramatic  content  of  the  story  itself. 
Harry  Carey,  of  course,  is  Harry 
Carey.  Edith  Roberts  makes  a  charm- 
ing heroine,  though  not  even  the  morn 
of  her  sweetheart's  hanging  is  sufficient 
to  rouse  her  to  any  great  heights  of 
emotion.  Frankie  Darro,  a  precocious 
youngster,  turns  in  a  performance  that 
ought  to  make  Jackie  Coogan  hitch  up 
his  rompers  and  be  prepared  to  defend 
Ms  laurels.  All  of  which  being  faith- 
fully recorded,  there  is  nothing  much 
else  in  Roaring  Rails  to  report. 
1EDDLING  WOMEN — Chadwick — And 
while  we're  on  the  subejct,  if  there  is 
anything  in  Life  which  can  be  too 
truly  portrayed,  it  is  a  meddling  wo- 
man. In  this  film  no  situations  are 
spared  to  show  how  meddlesome  the 
female  of  the  species  can  be.  As  a 
matter  of  fact  the  production  herein 
under  discussion  is  more  a  case  of  sit- 
uations than  of  real,  honest  plot  legiti- 
mately ushered  in  and  honestly  car- 
ried out.  Mr.  Ivan  Abramson,  who 
wrote  as  well  as  directed  the  story,  be- 
lieves in  smashisng  his  points  home 
and  the  devil  take  the  continuity. 
Meddling  Women,  as  a  result,  is  jumpy) 
disjointed,  incoherent  and  sometimes 
illogically  told  but  always  the  melo- 
dramatic bobs  up  when  the  film  is 
floundering  most  dangerously — and  what 
is  melodrama  for  if  not  to  turn  up  at 
just  the  right  moment  and  keep  the 
customers  from  walking  out  on  you? 

Open  Letters  to  Gloria  Swanson 
Continued  from  page  37 

played  with  us  like  a  trouper.  (Even 
o  piercing  Walter  to  the  gizzard  and  un- 
rigging Conrad  in  the  finale.) 

What  a  night  it  was !  No  rehearsals. 
io  retakes.  I  just  read  through  aloud 
he  stage  directions,  and  the  camera 
■round.  I  think  we  worked  from  eight 
'clock  till  one  to  make  that  picture, 
f  that  speed  record  has  been  beaten 
iince  1  have  heard  nothing  of  it. 

How  pleasant  it  is  now  to  recall  those 
jappy  hours.  Let  those  who  will  speak 
|f  movie  snobbishness  and  hatred.  But 
lot  to  me.  For  I  have  played  with  the 
tars  when  work  was  over.  Today  each 
f  the  four  artists  who  played  with  me 
Slat  night  stands  as  a  star  in  his  own 
iglit. 

Your  great  success  today,  Gloria,  is 
ased  on  ability,  yes,  but  more  than  that, 
in  the  very  quality  which  made  you  and 
le  others  enter  into  the  spirit  of  my 
ttle  unimportant  play. 

It  is  because  you  are  an  artist  now 
5  you  were  then  that  the  public  has 
laced  you  on  the  throne  which  you  so 
eautifully  grace. 


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SCREENLAND 

Peter  Pan — Continued  from  page  24 


one  of  my  many  friends  covetous  of  the 
role,  but  when  I  saw  her  and  talked  to 
her  I  buried  the  hatchet. 

She's  a  petite,  piquant  little  bit  of 
prettiness  with  a  predominance  of  the 
elfin  about  her,  a  veritable  fay,  as  vir- 
ginal and  sweet  as  a  newborn  fawn.  She 
has  what  Elinor  Glyn  terms,  "IT,"  mean- 
ing personality,  and  no  affectation,  praise 
be  the  saints  of  the  cinema! 

Little  Miss  Bronson,  in  befeathered 
cap  and  vari-colored  jerkin,  and  nothing 
else,  was  perfecting  a  perfect  eyebrow 
under  the  cerberus  of  her  portly  mama 
when  I  was  presented.  We  bandied  a 
few  commonplaces,  and  then  Brenon 
crashed  in. 

I  told  him  what  I  had  heard,  and  he 
never  batted  an  eye,  did  this  quiet  yet 
nervous  grey-haired  old  young  man  in 
his  double-breasted  dark  suit. 

"You  shall  see  for  yourself,"  he  re- 
marked drily. 

I  was  just  about  to  begin  seeing  when 
Ernst  Lubitsch  invaded  Brenon,  pounded 
him  on  the  back,  and  wrung  his  hand 
simultaneously.  Lubitsch,  the  great  Ger- 
man director,  is  the  only  fat  little  man 
in  the  world  who  can  be  volatile  and  get 
away  with  it. 

"I  haff  joost  seen  three  reel  of  your 
peekshur,  Meester  Brenon,"  Lubitsch 
chortled.  "Eeet  is  marvelous.  Eet  is 
simple.  Eet  is  fantastic.  Eet  gives  you 
a  pull  here,"  he  added  indicating  his  well- 
padded  larnyx  with  a  shaking  forefinger. 

"I  should  luff  to  make  a  peekshur  like 
it  and  forget  a  peekshur  should  mek 
money.  You  have  made  a  great  artistic 
triumph." 


Brenon  thanked  the  eminent  Teui 
and  led  me  in  upon  the  set  for  the  h 
scene  of  the  Barrie  play,  the  windc 
ledge  shot,  looking  out  over  purple  hoii: 
tops  and  chimney  pots,  in  which  Pel 
takes  his  leave  of  Wendy  and  Motr 
Darling. 

"Everybody  sit  down,"  Brenon  b 
lowed. 

"Keep  the  doors  closed.  Let  no  c 
in,"  he  added. 

Betty  Bronson  took  her  place  on  t 
window  ledge. 

The  musicians  began  "The  Sw 
Song." 

Brenon  buried  his  face  in  his  hand: 

In  a  moment  he  raised  his  head  a 
the  filming  of  the  scene  began.  It  I 
been  rehearsed  all  morning. 

"I  shall  show  you  there  can  be  poe 
in  motion,"  Brenon  whispered,  never  t; 
ing  his  eyes  off  the  set. 

"Action,"  Brenon  murmured.  Bett 
arms  moved  sinuously,  undulatingly,  p 
saging  her  flight  away  to  the  Never  Nc 
Land,  away  from  Wendy  who  loved  Pe 
Pan. 

Little  Mary  Brian  (a  wonderful  fir 
as  Wendy  entered  in  a  dash.    Esther  E 
ston,  a  vision  of  blonde  loveliness 
Mother  Darling,  glided  in  to  aid  Wei 
in  gaining  another  moment  with  Peter 

The  marvelous  last  scene  of  the  w 
drous  Barrie  play  was  on,  with  the  pi 
ers  speaking  the  lines  that  always  t 
a  sob  from  even  hearts  of  stone. 

I  sat  there  under  the  whirring  c; 
eras  too  thrilled  for  words,  as  entrani 
as  I  was  when  I  saw  the  immortal  Ma 
in  the  role  which  that  dear  child  Bt 
Bronson  is  now  living. 


/  ran  aivay  the  first  day  /  ivas 
born  and  lived  among  the  fairies.'' 


SCREENLAND 


0  3 


The  scene  ended.   The  tension  snapped. 

Brenon  turned  to  me  with  a  quizzical 
.ok  in  his  eye.  I  could  but  nod  my 
bproval.  The  Bronson  child  had 
hocked  me  for  a  gross  of  revolving  bar- 
er poles. 

j  After  the  scene  was  re-taken  five  times 
jithout  improvement,  to  my  notion, 
Irenon  called  a  halt  and  showed  me  other 
Its  used  in  the  picture. 
With  a  cigar  store  Indian  playing  Peter 
ijiese  sets  will  put  over  the  illusion  that 
lie  stage  version  was  never  able  to  pro- 
bee.  The  underground  forest  is  real, 
[inker  Bell  hiding  in  the  bureau  drawer 
111  be  real.  Every  scene  in  the  picture 
[ill  give  the  effect  of  realism  of  a  sort 
hich  will  enhance  and  not  destroy  the 
jntasy. 

[The  youngsters   will  go   mad  about 
feter"  is  my  prediction;  and  the  pic- 
re  will  make  the  grown-ups  children 
a  in,  too,  thus  conquering  every  one. 
Of  course  .there  will  be  some  few  crus- 
jceans  with  hearts  as  resistant  as  a 
ving-bell  who  will  not  like  it,  but  what 
i  Heligoland  do  they  like  anyway  ex- 
ipt  seven  per  cent  interest? 
'[Lubitsch  liked  it  and  said  so  when  he 
(da't  have  to  say  so.    And  Lubitsch 
ver  does  anything  he  doesn't  want  to 
I    I  liked  what  I  saw  but  that  doesn't 
litter,  except  that  I  am  like  a  lot  of 
$rw  York  critics,  liking  little  save  my- 
llf. 

'(At  any  rate  Brenon  has  put  his  whole 
ml  into  this  picture.  Betty  Bronson 
I  put  her  whole  soul  into  it.  She's  liv- 
I  it.  So  is  Mary  Brian,  Miss  Ralston, 
(•nest  Torrence  and  all  the  caste. 
The  results  thus  far  are  startingly  re- 
irkable. 

When  Mary  was  a  little  girl 
Continued  from  page  39 

I  had  failed  to  realize  the  child  was  a 
tural  genius. 

"Time  and  again  I  told  Mrs.  Smith 
at  her  daughter  was  a  born  actress,  and 
entually,  as  is  now  well  known,  she  al- 
ved  her  to  appear  as  a  juvenile  enter- 
'ner.  Then  often,  when  the  child  had 
sen  part  in  some  performance — f re- 
entry it  was  some  charity  affair — Mrs. 
lith  would  tell  me  about  it  and  we 
>uld  discuss  her  progress." 
We  are  all  vitally  and  insatiably  in- 
■ested  in  people,  especially  noted 
ople.  Is  our  interest  just  vulgar  curi- 
lity?  We  don't  believe  it.  We  think 
springs  rather  from  a  profoundly 
rmal  hunger  for  and  satisfaction  in  the 
nance  of  human  personality — the  only 
il  romance  there  is  after  all. 

m  CARDS 

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IM  D 

Classic  Development 
of  the  Bust 

YOTJB  WOMANLY  BEAUTY  can  be  developed.  The  secret  of  woman's 
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BEAUTY  OF  FORM  is  woman's  natural  birthright.  It  is  just  as  whole- 
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Motion  Picture  Actress  Delighted 

Betty  McCoy,  Movie  Actress,  Los  Angeles,  whose  photo  is  shown 
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DIMPLES 

"Dear.  Ann:  Ton  can't  im- 
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est friend  and  I  want  to  see 
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Devotedly,  Sonia." 

DOLLY  DIMPLER 

is  a  simple,  harmless,  easily 
i    produces    fascinating  dimples 
^amended  by  facial  specialists.  Abso- 
?S  harmless.  Eesults  positive.  Miss  D.  H.  writes 
I  ani  very  pleased  with  results  obtained  from  Dolly 
Dimpler.  My  sister  has  been  using,  my  Dimpler 
Drmpier  w   ^  ^  deUghte<r  cllp  ^  TO„p0n 

below  and  send  $1  for  everything, 
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blame - 


iPrint  Plainly) 


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f  "Beauty" 
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of  Sana-Cutla  to  prove  that  it  will  heal  the  most 
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BOYS  and  GIRLS 
Earn  Xmas  Money 

Write  for  SO  Sets  St.  N icholas  Christmas  Seals. 
Sell  {or  lOc.  a  set.  When  sold  send  us  $3.00  and 
keep  $2.00.  No  Work  —  Just  Fun.  St.  Nicholas 
2814  Glenwood  Rd.  Dept.  198,  Brooklyn.N.Y. 


leased. 


BELIEVE  IT  OR  NO' 

Clippings  from  the  writings  of 
the  Press  Agents 

here  is  going  to  be  a  lot  of  my 
tification  among  the  movie  fai 
when  the  new  St.  Regis  pictur 
"The  Ultimate  Good,"  is  r 
In  one  of  the  big  scenes  two  1 
the  bits  are  played  by  Elaine  Dahlia  1 
Algeria  (who  is  also  in  the  " Green wii 
Village  Follies")  and  George  Nardel 
Movie  fans  never  heard  of  either  on 
but  despite  this  they  are  going  to  reco 
nize  both  of  them  immediately.  Mi 
Dahlia  is  a  dead  ringer  for  Nita  Nal 
and  Mr.  Nardelli  is  a  second  Adolp] 
Menjou.  The  resemblances  were  imm 
diately  recognized  by  E.  H.  Griffith,  wl 
is  directing  the  picture,  with  the  rest 
that  he  sat  down  with  his  scenarist  ar 
a  scene  was  written  into  the  action  1 1 
the  sequence  giving  the  two  doubles  son 
work  together. 

The  fans  are  going  to  be  surprised  ai 
mystified ;  and  the  chances  are  some  pr  | 
ducer  is  going  to  recognize  some  "find: 
ready  made. 

IT  is  announced  that  the  first  two  pi 
tures  to  be  made  in  the  East  for  Fir 
National  under  Mr.  Hudson's  guidan 
will  be  "The  Interpreter's  House,"  wi 
Milton  Sills  and  Anna  Q.  Nilsson,  ar 
"One  Way  Street,"  with  Ben  Lyon  ai 
Doris  Kenyon. 

"We  are  here  to  make  pictures  pe 
manently,"  said  Earl  Hudson.  "We  kno| 
that  we  can  make  most  of  them  bett 
here  than  in  California.  In  nearly  evei 
way  New  York  offers  greater  advantag 
than  Hollywood  for  picture  making.  Tl 
climate  is  just  as  good,  and  the  fact  th 
most  exteriors  even  in  California  a 
made  at  the  studios  now  is  evidence  th 
at  least  as  good  results  can  be  obtainti 
here. 

"Locations  in  and  around  New  Yoj 
cannot  be  beat  anywhere  else  in  tl 
world.  The  difficult  problem  of  proper 
costuming  our  players,  which  has.  bef 
one  drawback  in  the  West,  will  be  easi 
overcome  here." 

With  the  signing  of  Wanda  Hawley  li- 
the leading  role  opposite  Pat  O'Malley  : 
"On  the  Shelf"  production,  work  on  th 
Producers  Distributing  Corporation  rj 
lease  was  started  at  the  Peninsula  sti 
dios  in  San  Matea. 

Paul  Powell,  who  is  directing  the  pjr< 
duction,  has  also  engaged  Ethel.  WaF 
and  Betty  Jane  Snowd"  or  importai 
parts.  .  Frank  J.  Ge 
first  assistant  di 


Walker  is  in  ch 
"On  the  St 
adapted  for  th 
Viola  Brothers 
Post  story. 


is  acting 
J  Joseph 
:amera  worl 
medy  dram 
[Woods  froi 
jrday  Eveni: 


SCREENLAND 


95 


STATEMENT  OF  THE  OWNERSHIP, 
ANAGEMENT,  CIRCULATION,  ETC.,  RE- 
UIRED  BY  THE  ACT  OF  CONGRESS  OF 
OGUST  24,  1912,  of  SCREENLANI},  published 
OXTHLY  at  NEW  YORK,  N.  Y.,  for  OC- 
,)BER  1.  1924.  State  of  NEW  YORK,  County 
NEW  YORK,  ss.  Before  me,  a  NOTARY 
and  for  the  State  and  county  aforesaid,  per- 
nrdly  appeared  J.  THOMAS  WOOD,  who, 
iving  been  duly  sworn  according  to  law,  de- 
ises  and  says  that  he  is  the  PUBLISHER  of 
e   SCREENLAND   and  that  the  following 

the  best  of  his  knowledge  and  belief,  a  true 
itement    of    the   ownership,    management  (ana 
a   daily  paper,   the  circulation),    etc.,   of  the 
oresaid  publication  for  the  date  shown  in  the 
ove  caption,   required   by  the  Act   of  August 
,  1912,  embodied  in  section  443,  Postal  Laws 
d  Regulations,  printed  on  the  reverse  of  this 
rm,  to  wit:     1.    That  the  names  and  addresses 
the   publisher,    editor,   managing    editor,  and 
[siness  managers  are:     Publisher,  J.  THOMAS 
!OOD,  145  W.  57TH  STREET,  NEW  YORK, 
j !   Y. ;  Editor,  ELIOT  KEEN,   145  W.  57TH 
|  !rREET,  NEW  YORK,  N.  Y.;  Managing  Edi 
Ir,  ELIOT  KEEN,   145  W.   57TH  STREET, 
EW  YORK,  N.  Y. ;   Business  Manager,  NONE. 

That  the    owner  is:    (If    the   publication  is 
ii  :d  by  an  individual  his  name  and  address,  or 
o  i-ned  by  more  than  one  individual  the  name 
;d  address  of  each,  should  be  given  below;  if 
_fe   publication   is   owned   by    a    corporation  the 
"|nie  of  the  corporation  and  the  names  and  ad- 
esses    of   the   stockholders    owning   or  holdi 
■!e  per  cent  or  more  of  the  total  amount  of  stock 
juld   be  given)    THE    MAGAZINE  BUILD 
<?.  INC.,  145  WEST  57TH  STREET,  NEW 
)NK,  N.  Y.:  T.  THOMAS  WOOD,  145  WEST 
|TH    STREET,    NEW   YORK,    N.    Y. ;  ER 
EST  ADAMS,    145   WEST  .  57TH  STREET, 
iSW  YORK,  N.  Y.    3.    That  the  known  bond- 
Iders,  mortgagees,  and  other  security  holders 
jning  or  holding  1  per  cent  or  more  of  total 
iiount  of  bonds,  mortgages,  or  other  securities 
::    (If  there  are  none,   so  state)    NONE.  4. 
. 4  at  the  two  paragraphs  next  above,  giving  the 
L  'Imes  of  the  ow:ners,  stockholders,  and  security 
|!ders,  if  any,  contain  not  only  the  list  of  stock- 
llders  and  security  holders  as  they  appear  upon 
j:  books  of  the  company  but  also,  in  cases  where 
t  stockholder  or  security  holder  appears  upon 
■  books  of  the  company  as  trustee  or  in  any 
:|  i.er  fiduciary  relation,  the  name  of  the  person 
corporation  for  whom  such  trustee  is  acting, 
given;  also  that  the  said  two  paragraphs  con- 
yfjun  statements    embracing   affiant's   full  knowl- 
"Ige  and  belief  as  to  the  circumstances  and  con- 
i  hjions   under   which    stockholders   and  security 
ders  who   do  not  appear   upon   the  books  of 
company  as  trustees,  hold  stock  and  securities 
a   capacity   other   than    that   of   a  bona  fide 
;  yjoer;  and  this  affiant  has  no  reason  to  believe 
»)•  t  any  other  person,  association,  or  corporation 
Jjljl  any  interest   direct  or  indirect  in  the  said 
Lick,  bonds,  or  other  securities  than  as  so  stated 
if     him.      J.    THOMAS    WOOD,  Publisher, 
ii'orn  to  and   subscribed  before   me   this  9TH 
fjr  of  OCTOBER,  1924.    ("Seal.)  MARGARET 
ill1    DOONAN,    Notary    Public,    Kings  County, 
r  ;  .  170.    Certificate  filed  in  N.  Y.  Co.,  No.  450. 
commission  expires  March  30,  1925.) 


'(  irn  money  weekly,  spare  time,  home, 
ti  dressing,  mailing,  music,  circulars, 
(ifujnd     10c     for     music,  information. 

I  New  England  Music  Co., 

118  Asylum  St.,  Dept.  E-9, 
Hartford,  Conn. 


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Finest  quality  Spanish  leathers-entirely 
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NEWEST  CIGARETTE  CASE 
Double  row,  hinged  end-holds  one  pack 
age.   Black  or  maroon  calf-brown  oi 
maroon  morocco,  $2.5C 

BILLPOLOS 
nssorkd  Models 

Exclusive  gift!  Brown  or  ma 
roon  morocco-black  or  ma 
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CALIFORNIA  TRADING  CC 


BYI — Lady's  I8K 
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hexagon  center 
set  with  perfect 
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BY2—  Lad$*»  Elite 
ring;  perfect  out  blue 
white  diamond  Is  set 
I8K  white  gold 
prongs.  I4K  natural 
gold  shank.    $65.  . 


BY3  —  Laays  20  K 
white  gold  orange 
blossom  ring  set  in 
%  Carat  size  I8K 
white  go'd  cup  with 
a  perfect  cut  blue 
wjiite  diamond.  $75. 


BY4 — Lady's  TWIKMBBIKSIIBSr  wrist  watch  of 
solid  14 K  white  gold:  highest  grade  15  ruby  ami 
sapphire  jewelled  movement.    Lifetime  guarantee. 


BY8  — Ppiatinum 
front  Scarf  pin 
set  with  perfect 
kit  blue  white 
diamond;  14  K 
white  gold  pin. 
$27.50. 


BYS  ~-  Lady's 
hand  carved  I8K 
white  gold  ring 
set  with  a  perfect 
cut  blue  white 
diamond.  $50. 


white  gold  ring; 
center  set  with 
absolutely  perfect, 
blue  white  dia- 
mond: two  flaw- 
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-The  secrete  of  a  happy  mar- 
riage? 

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should!  ovoid? 
-  What  true  love  really  meant? 
-How  to  perpetuate  the  honey 

moon? 

-Law  of  nstttuall  attraction? 
-If  continence  is  desirable? 
-How  to  control  your  impulsed? 
-Answers  to  sex  problems? 
-Dangers  of  ignorance? 
-Advice  to  the  newly  married? 


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— The  reasons  for  marital  on- 

happiness? 
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love? 

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social  diseases? 
— Mistakes  often  fatal? 
— Ethics  of  the  unmarried? 
— What  every  young  man  should 

know? 

— Advice  to  expectant  mothers? 


These  are  just  few  of  the  auettiom  answered  truthfully  and 
authoritatively  by  "Safe  Counsel" 


Chicago 


FRANKLIN  ASSOCIATION 

186  No.  La  Salle  St.,  Dept.  3io-c 
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I  HE    SEA   HAWK  Rafael  Sabatini 

THE  COVERED  WAGON  Emerson  Hough 

MONSIEUR   BEAUCAIRE   Booth  Tarkington 

THE  TEN  COMMANDMENTS  Henry  MacMahon 

SCARAMOUCHE   Rafael  Sabatini 

JANICE   MEREDITH   Paul   Leicester  Ford 

DOROTHY  VERNON  OF  HADDON  HALL  Charles  Major 

AMERICA   Robert   W.  Chambers 

SUNDOWN    Hudson-Eberhardt 

WANDERER  OF  THE  WASTELAND  Zone  Grey 

MANHANDLED   Arthur  Stringer-Russell  Hohnan 

THE  SHOOTING  OF  DAN  McGREW  James  J.  Tynan 

YOLANDA   Charles  Major 

THE  WHITE  SISTER  p.  Marion  Crawford 

BEING  RESPECTABLE   ]  Grace  H.  Flandrau 

LOVE  INSURANCE  (The  Reckless  Age)  Earl  Derr  Biggers 

ANOTHER  SCANDAL   Cosmo  Hamilton 

THE  SALAMANDER  (The  Enemy  Sex)  Owen  Johnson 

MERTON  OF  THE  MOVIES  Harry  Leon  Wilson 

THE  MOUNTEBANK  (The  Sideshow  of  Life)  Wm.  J.  Locke 

THE  JUDGMENT  OF  THE  STORM  Roy  Mason 

WILD  ORANGES   Joseph  H  ergesheimer 

LITTLE  OLD  NEW  YORK  Rida  Johnson  Young 

THE  DAWN  OF  A  TOMORROW  Frances  Hodgson  Burnett 

A  GIRL  OF  THE  LIMBERLOST  Gene  Stratton-Porter 

THE   PLUNDERER   Roy  Norton 

LEATHERSTOCKING   George  A.  Gray 

THE  BREATH  OF  SCANDAL  Edwin  Balmer 

PONJOLA   Cynthia  Stockley 

WEST  OF  THE  WATER  TOWER  Homer  Cray 

IF  WINTER  COMES  A.  S.  M.  Hutchinson 

THE  WAY  OF  A  MAN  ..Emerson  Hough 

THE  HERITAGE  OF  THE  DESERT  Zone  Grey 

RITA  COVENTRY   (Don't  Call  It  Love)  Julian  Street 

A  LADY  OF  QUALITY  Frances  Hodgson  Burnett 

IN  THE  PALACE  OF  THE  KING  F.  Marion  Crawford 

UNDER  THE  RED  ROBE  Stanley  J.  Weyman 

THE    SPANISH   DANCER   Victor  Hugo 

THE  CHEAT   '  Tumbull-Holman 

LET  NOT  MAN  PUT  ASUNDER  Basil  King 

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RUPFRT  OF  HFNTZAU  Anthony  Hope 

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>ETS 


Encore  la  fete  de  Noel!  Once  more  Christmas  awaits  us,  that 
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Americains — Mesdames,  Messieurs — a  word  of  friendly  counsel: 

Do  you  seek  a  gift  of  distinction,  to  make  sing  the  heart  of 
Madame,  of  Mademoiselle? 

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Sets—  for  example,  the  fascinating  set 
shown  at  the  right. 

ALFRED  H.  SMITH  CO..  Importers.  New  York 


BhSSlh  LOVE  Allmsoncolor  by  N/ckolas  Muray 


by  Nuke 


IF  YOU'LL  WRITE  IT,  I'LL  BUY  IT." 


BY. HA .\  1 IL TON  THOMPSON 


The  Most  Daring  Book, 
Ever  Written! 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  book  that  should  be  read  by  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
—it  is  a  penetrating  searchlight  fearlessly  turned  on  the  most 
intimate  relations  of  men  and  women.  Read  below  how  you  can 
get  this  daring  book  at  our  risk  —  without  advancing  a  penny. 


ELINOR  GLYN 
The  Oracle  of  Love 


\7[  7ILL  you  marry  the  man 
V  "  you  love,  or  will  you  take 
the  one  you  can  get? 

If  a  husband  stops  loving  his 
wife,  or  becomes  infatuated  with 
another  woman,  who  is  to  blame 
— the  husband,  the  wife,  or  the 
"other  woman?" 

Will  you  win  the  girl  you  want , 
or  will  Fate  select  your  Mate? 

Should  a  bride  tell  her  husband 
what  happened  at  seventeen? 

Will  you  be  able  to  hold  the 
love  of  the  one  you  cherish — or 
will  your  marriage  end  in  divorce? 

Do  you  know  how  to  make  people  like  you? 

IF  you  can  answer  the  above  questions — 
if  you  know  all  there  is  to  know  about 
winning  a  woman's  heart  or  holding  a 
man's  affections — you  don't  need  "The 
Philosophy  of  Love."  But  if  you  are  in 
doubt — if  you  don't  know  just  how  to 
handle  your  husband,  or  satisfy  your  wife, 
or  win  the  devotion  of  the  one  you  care 
for — then  you  must  get  this  wonderful 
book.  You  can't  afford  to  take  chances 
with  your  happiness. 

What  Do  YOU  Know 
About  Love  2 

DO  you  know  how  to  win  the  one  you 
love?  Do  you  know  why  husbands, 
with  devoted,  virtuous  wives,  often  be- 
come secret  slaves  to  creatures  of  another 
"world" — and  how  to  prevent  it?  Why  do 
some  men  antagonize  women,  finding  them- 
selves beating  against  a  stone  wall  in  affairs 
of  love?  When  is  it  dangerous  to  disregard 
convention?  Do  you  know  how  to  curb  a 
headstrong  man,  or  are  you  the  victim  of 
men's  whims? 


What  Every  Man  and 
Woman  Should  Know 


— how  to  win  the  man 

you  love. 
— how  to  win  the  girl  you 

want. 

— how  to  hold  your  hus- 
band's love. 

— how  to  make  people 
admire  you. 

—why  "petting  parties" 
destroy  the  capacity 
for  true  love. 

— why  many  marriages 
end  in  despair. 

— how  to  hold  a  woman's 
affection. 

— how  to  keep  a  husband 
home  nights. 

— things  that  turn  men 
against  you. 

— how  to  make  marriage 
a  perpetual  honey- 
moon. 

— the  "danger  year"  of 
married  life. 


— how  to  ignite  love — 
how  to  keep  it  flaming 
— how  to  rekindle  it 
if  burnt  out. 

— how  to  cope  with  the 
"hunting  instinct"  in 
men. 

■ — how  to  attract  people 
you  like. 

— why  some  men  and 
women  are  always  lov- 
able, regardless  of  age. 

— are  there  any  real 
grounds  for  divorce? 

— how  to  increase  your 
desirability  in  a  man's 
eye. 

— how  to  tell  if  someone 

really  loves  you. 
— things   that   make  a 

woman    "cheap"  or 

"common. " 


Do  you  know  how  to  re- 
tain a  man's  affection  always? 
How  to  attract  men?  Do  you 
know  the  things  that  most  irri- 
tate a  man?  Or  disgust  a  woman? 
Can  you  tell  when  a  man  really 
loves  you — or  must  you  take 
his  word  for  it?  Do  vou  know 
what  you  MUST  NOT  DO  un- 
less you  want  to  be  a  "wall 
flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that 
make  women  like  you?  Why  do 
"wonderful  lovers"  often  be- 
come thoughtless  husbands  soon 
after  marriage — and  how  can 
the  wife  prevent  it?  Do  you  know  how  to 
make  marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places  a 
magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.  No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty, 
deep  sincerity,  and  resolute  courage.  But 
while  Madame  Glyn  calls  a  spade  a  spade 
— while  she  deals  with  strong  emotions 
and  passions  in  her  frank,  fearless  man- 
ner— she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book 
can  safely  be  read  by  any  man  or  woman. 
In  fact,  anyone  over  eighteen  should  be 
compelled  to  read  "The  Philosophy  of 
Love";  for,  while  ignorance  may  some- 
times be  bliss,  it  is  folly  of  the  most  danger- 
ous sort  to  be  ignorant  of  the  problems  of 
love  and  marriage.  As  one  mother  wrote  us: 
"I  wish  I  had  read  this  book  when  I  was  a 
young  girl — it  would  have  saved  me  a  lot 
of  misery  and  suffering." 

Certain  shallow-minded  persons  may 
condemn  "The  Philosophy  of  Love."  Any- 
thing of  such  an  unusual  character  generally 
is.  But  Madame  Glyn  is  content  to  rest  her 
world  wide  reputation  on  this  book — the 
greatest  masterpiece  of  love  ever  attempted ! 


Qfte  PHILOSOPHY 
OF  LOVE 

hy  ELINOR  GLYN 


WARNINQl 

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Do  You  Know — 

how  to  order  in  a  restauram  ? 

how     to     plan      a  forma) 
wedding? 

how    to    adapt    yourself  to 
every  environment  ? 

how  to  be  socially  popular? 

how    to    call    cn    a  young 
woman? 

how  to  propose  marriage? 

how    to    entertain    in  the 
latest  approved  fashion? 

how  to  make  friends  easily? 
•  how  to  plan  a  bridal  shower  ? 

how  to  introduce  people? 

•how-  to  entertain  at  a  club? 

.how  10    set   a   table   for  a 
formal  dinner  ? 

_  how    to    oronounce  French 
words  ? 

how  to  give  and  receive  gifts? 
how  to  acquire  confidence  ? 
hew  to  tip  properly  ? 

Irom  7he 
Uable  of  Contents 

Etiquette   through    the  ages 
He     background     of  Amerkaii 
manners 

-  The  newer  trend 
The  value  of  good  manners 
Wearing  the  mask  of  pretense 
Etiquette  in  a  large  city 
Etiquette  in  a  small  xown 

-Who  pays  the  fare? 
Overcoming  timidity 

.  If  you  are  sensitive 
Invitations  for  every  oec-asiou 
The  secret  of  correct  dress 
Childhood,  and  youth 
The  promise  of  love 
The  blossoming  of  love 
Marriage 

New  trays  to  entertain 
Travel  etiquette 
.  Business  etiquette 
— and  a  wealth  of  other  fascinat- 
ing subjects  too  numerous  to 
mention. 


ft 


Filet  Mignon,  Please  /" 

~and  She  Thought  it  Was  Fish 


ii  TOILET  MIGNON,  please,"  she 
r  had  clearly  told  the  waiter 
just  a  few  moments  ago — and  now 
he  brought  her  steak. 

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1  ordered  Filet  Mignon." 

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is  very"  good." 

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fi — "  and  then  she  checked  herself. 
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cheeks  burned  with  humiliation  !  Why 
had  she  ever  supposed  that  Filet 
Mignon  was  like  Filet  de  Sole !  How 
queerly  Bob  stared  at  her — how 
quizzically  he  smiled.   Was  he  think- 

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ink  that  she  wasn't  as  cultered  as  he 
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GJhe  cJndufy undent  Screen  cffl.agazLn& 

FEBRUARY,  1925  '  .  VOL.  X,  NO.  4 

^S«—  '  —  :  .  


Eliot  Keen,  Editor 


CONTENTS  for  FEBRUARY 

Cover — Bessie  Love.    Allisoncolor  by  Nickolas  Muray. 
Ask  Me — An  Answer  Page  of  Information.    By  Miss  Vee  Dee 
Behind  the  Screen 
"Hello,  Georgia" — A  Portrait  . 

Pauline  Starke  and  William  Collier.  Jr. — .4  Portrait  . 
Mary  Astor — A  Portrait    ■  .        .  . 
Life  is  Like  That  in  Hollywood  .... 
Old  Plots  for  New.   By  Myron  Zobel  .... 
She's  the  Prettiest  Girl  in  Pictures.    By  Delight  Evans 
Evelyn  Brent — A  Portrait  '.  ... 
Doris  Kenyon — A  Portrait        *  . 
By  the  Beard  of  the  Profit      .  ... 

"If  You'll  Write  It,  We'll  Buy  It."   By  Hamilton  Thompson 
A  He-Man  Hero.    By  Anne  Austin  . 
Life  Among  the  Beauties.    By  H.  B.  K.  Willis 
That  Hard-Hearted  Gal.    By  Regina  Cannon 
What  an  Assistant-Director  Thinks  About.    By  Rodney  Hickok 
Winners  in  the  Bathing  Beauty  Contest  . 
Helen  Lee  Worthing— 4  Beauty  from  Kentucky.    By  Esther  Willman 
New  Screenplays.    By  Delight  Evans  . 
Reviews  in  Brief.    By  Martin  B.  Dickstein 
Pre-Showing  of  Feature  Films 
Viola  Dana — A  Portrait 
Norma  Talmadge — A  Portrait 
Conrad  Nagel — A  Portrait  . 
Norman  Kerry — A  Portrait  . 
Dramaland.    By  Myron  Zobel 
Gossip  from  Screenland.    By  H.  B.  K.  Willis 
Fashions — Posed  especially  for  Screenland  by  Phyllis  Haver 
They  Say.    By  Marion  of  Hollywood  .  •  . 

Ruth  Hanson — A  Portrait  . 
Award  of  Mae  Murray  Contest  . 
When  Mack  Sennett  Became  Enthusiastic 


4 
6 
11 

12 
13 
14 

IS 
16 
19 
20 
21 
22 
26 
28 
30 
32 
34 
36 
38 
48 
SO 
57 
59 
60 
61 
62 
64 
70 
72 
76 
77 
92 


Hessze  £ove 

The  Allisoncolor 
portrait  reproduced  on 
the  cover  of  this  issue 
is  Miss  Bessie  Love. 
The  photographer  has 
been  particularly  suc- 
cessful in  this  color 
photograph.  Miss 
Love's  face  is  full  of 
character,  and  the 
marvel  of  color  pho- 
tography shows  the 
strength  of  her  color- 
ing and  the  exceed- 
ingly becoming  pas- 
sion that  Miss  Love 
has  for  oriental  effects. 


Published  monthly  by  Magazine^  Builders  Inc.,  at  145  West  57th  Street,  New  York,  N.  Y.,  U.  S.  A. 

T-.  Thomas  Wood,   Pres.      Copyright   1924.  *  Trade  Mark  reeis-  Office   -,t   lis   \jtf»„'*    eV*i    o.          „  , 

tered.       Single    copies    25c;    subscription    price.    United    States  T    ?•           L            ™ I  Street'   New  York'   N"  Y-  Western 

and  Canada,  $2.50  a  year;  foreign,  $3.50.     Entered  as  second-  advertising  offices  at  30  North  Dearborn  St.,  Chicago,  Ih.;  100^ 

class  matter,  November  30,  1923,  at  the    Post  Office  at  New  York,  Loca  Cola  BldS-  Kansas  City,  Mo.    Publishers  also  of  Real  Life 

N.  Y.,  under  the  Act  of  March  3,   1879.     Additional  entry  at  Stones.     Subscription  price  United  States  and  Canada        50  a 

Long  Island  City    N.  \       Permission  to  reprint  materia]  must  year.     Single  copy  25  cents  each.     Club  rate  for  the  two  masa- 

be  secured  from  the  publishers.     General  Executive  and  Editorial  zines,  $4.00  a  year;  foreign,  $6.00. 


Printed  in  United  States  of    America.    Produced  b 


Giles  Printing  Co.,  New  York.   N.  Y. 


SCREENLAND 


c(5k 

^Allisoncolor  Covers 

P'-  °f 
SCREENLAND 


r/zf  method  of  color  photog- 
raphy which  has  been  devel- 
oped through  recent  years  has 
no  more  successful  exponent 
than  Nicholas  Muray  whose 
Jllisoncolor  portraits  have 
been  used  on  recent  issues  of 
SCREENLAND. 

This  method  of  color  pho- 
tography is  entirely  truthful.. 
There  are  no  prints  made  from 
the  plates  and  each  photograph 
is  made  direct  from  the  sitter. 

The  development  of  the  plate,  the  man- 
cgement  of  the  color  effects  by  lighting 
and  reflected  lights,  by  colored  flashes 
and  by  screens,  is  in  itself  a  fine  art, 
hut  the  residts  have  warranted  this  care- 
'  fid  study,  for  they  show  the  moving  pic- 
|  ture  fan,  for  the  first  time,  the  exact 
coloration  of  the  screen  player  whose 
likeness  in  black  and  white  has  won  for 
\her  a  reputation  but  whose  actual  per- 
sonality is  so  often  embodied  in  the  color 
of  her  eyes  or  her  hair. 

This  series  of  covers  on  Screenland 
i  introduces  for  the  first  time  the  stars  in 
their  true,  actual  appearance.  No  artist 
paints  over,  retouches  or  "fixes"  these 
portraits.  The  process  is  one  of  great 
fidelity,  as  it  is  impossible  to  alter  or 
change  these  pictures. 

The  great  step  which  has  been  made  in 
I  color  photography  throughout  the  motion 
picture  world  leads  us  to  believe  that  there 
Hill  in  future  be  more  and  more  demand 
-  players  whose  color  makes  a  pleasing 
\keffect  to  the  eye. 

"The  Ten  Commandments"  established 
\\  a  high  point  in  color  photography  for 

I films,  and  "Wanderers  of  the  Wasteland" 
proved  this  method  to  be  practical  as 
well  as  beautiful. 

Screenland,  with  its  natural  color 
photography,  follows  the  trend  of  the 
most  recent  development  in  cinema  art, 
und  Miss  Bessie  Love,  with  characteristic 
!  spirit,  has  enthusiastically  entered  into 
this  work  and  posed  for  ids. 


The  proverb -maker 
who  spun  the  phrase 

HAIL good  thlnqscorm  intkms 

might  have  found  inspira- 
tion in  the  TRE-JUR  TRIPLE. 

For— in  this  beautiful  compact,  cleverly 
arranged,  are  powder,  lip-stick  and  rouge 
of  finest  quality. 

One  touch — and  the  opened  lid  reveals 
a  powder  delightfully  scented  with  Joli- 
Memoire.  Below— the  pressure  of  your  little 
finger  releases  the  magic  drawer —  bearing 
rouge  and  lip-stick  of  exquisite  quality. 

Three  dainty  musketeers — inseparable  and 
|^  ready  for  instant  service.  Encased  in  pol- 
ished brass  and  amazingly  priced  at  $1.25. 

THE    HOUSE    OF  TRE-JUR 

19  WEST  18th  STREET  NEW  YORK  CITY 


TH1NEST" 

A  shallow  master- 
piece of  handy 
c  ire  urn  fere  net. 
Ample  powder 
and full-sized  puff 
$1 


TR.E-JUR. 

gffers  a  Compadfor  everp  nmL 

Ask  at  your  favorite  store  for  your  own 
shade  of  pow-  HH£t:.£B  der  and  rouge. 
Or  order  by  BHPHU  ma^  from  !IS- 
%efills  always  are  available. 


"PURSE  SIZE" 

TWIN 
Powder  and  rouze 
in  an  ingenious 
case  that  fits  into 
the  smallest  purse 

SI 


4 


SCREENLAND 


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.^Ask^Me! 

An  Answer  Page  of  Information 

Address:  Miss  Nee  Dee,  Screen/and,  145  West  57  th  Street,  N.  Y.C. 


Three  Novarro  Fans — Port  Huron, 
Mich.  Your  letter  was  like  a  ray  of 
sunshine  in  a  cloudy  sky.  Thanks  for 
remarks  and  good  wishes.  You  know, 
of  course,  that  Ramon  Novarro  is  in 
Rome  with  the  "Ben  Hur"  company. 
And  from  latest  reports  the  only  objec- 
tion Ramon  has  to  Rome  is,  that  hunt 
as  he  will,  pie  a  la  American  can't  be 
lured  from  its  elusive  hiding  place.  Mario 
is  about  ten  and  Eduardo  fourteen.  The 
boys  will  only  be  seen  in  an  occasional 
picture,  as  they  are  both  at  school.  Lil- 
lian Gish  will  probably  join  up  with 
Metro-Goldwyn.  She  is  still  with  In- 
spiration Pictures,  but  may  be  loaned  to 
other  companies,  if  terms  can  be  ar- 
ranged favorably.  I  saw  Lillian  recently, 
and  she  has  improved  amazingly  since 
her  return  from  abroad.  From  a  rather 
retiring  rabbit-like  individual  she  has  de- 
veloped into  a  very  delightfully-poised 
young  woman.  On  this  occasion  she 
wore  a  costume  of  beige  with  chic  Eng- 
lish cut-felt  hat,  shoes  and  stockings  to 
match,  and  looked  decidedly  modish. 

Herbert  Branscombe.  'Eavens  'erb, 
what  a  memory!  Quite  correct,  Milton 
Sills  and  Miriam  Cooper  played  in  the 
"Honor  System"  about  ten  years  ago. 
Do  you  know  Milton  will  don  puttees 
and  sport  a  megaphone  soon?  In  other 
words,  after  completion  of  his  contract, 
he  intends  to  become  a  director  instead 
of  a  popular  star. 

Chesterfield.  Dagmar  Godowsky  is  in 
the  East  and  Frank  Mayo  on  the  coast. 
Dagmar  is  head-vamp  at  the  Famous 
Players  Studios,  and  in-between-whiles 
helps  her  famous  father,  Leopold,  to  en- 
tertain various  notables  in  the  world  of 
music.  Mr.  Mayo's  address  is  610  Bed- 
ford Drive,  Beverley  Hills,  California. 

Clare  Warner.  Arthur  Rankin  of  the 
speaking  eyes,  as  you  put  it,  played  the 
son  in  "Vanity's  P  rice.  '  Arthur  comes 
of  a  well-known  theatrical  family  and  is 
related  to  the  Barrymores  and  Drews,  so 
if  tradition  means  a  darn  thing  in  his 
life,  young  Rankin  should  soon  reach 
stardom.  "White  Man"  will  herald  Alice 
Joyce's  return  to  the  screen.  Alice  is 
now  on  the  coast  where  the  picture  is 
being  made.  Gareth  Hughes  has  been 
visiting  his  parents  in  Wales,  the  land 
of  his  birth,  and  that  is  why  you  haven't 
seen  "Sentimental  Tommy"  in  anything 
for  some  time.  He  is  returning  to  the 
U.  S.  A.  early  in  the  new  year. 

Don  Ray — Oklahoma.  Blond  hair, 
gray  eyes,  and  a  lovable  personality  sums 


up  Edna  Murphy.  The  dainty  Edna  ha 
been  chosen  to  play  in  Richard  Dix 
next  picture,  "A  Man  Must  Live."  Ac 
dress  care  of  Famous  Players-Lask} 
Long  Island  City,  N.  Y. 

Cullen  Landis  Fan.    Margaret  Landii 
is  Cullen 's  sister,  and  her  most  recer{ 
appearance  was  in  "Western  Wallop," 
film  starring  Jack  Hoxie.    Renee  Adore 
was  born  in  Belgium.    Before  taking  u, 
picture  work  the  fascinating  little  Be 
gian  toured  Australia  as  half  the  teaij 
of  Magley  and  Magley,  ballroom  dancer  ] 
In  private  life  Mile.  Adoree  is  Mrs.  Tori 
Moore. 

Charlie  Lane — Trenton.    Bebe  Dame 
is  an  only  child,  and  therefore  Micke  \ 
Daniels  of  "Our  Gang"  comedies  is  nc! 
her  freckled   brother.     Bebe  is  still 
hard-working    goil  .  at    the  Paramour 
studios  in  New  York,  and  Mickey,  ha\ 
ing  recovered  from  a  bout  with  too  man 
"hot  dogs,"  is  back  on  the  Hal  Roac 
lot  as  leading  man! 

Mrs.  Kent — Washington.  A  five-yea; 
old  fairy-like  creature  answering  to  th 
name  of  Susanne  calls  Florence  Vide 
"mother."  Florence  dashed  to  Ne1 
York  to  attend  the  first  night  of  he 
latest  release,  "Barbara  Frietchie." 
was  Miss  Vidor's  first  visit  East,  an 
although  she  was  feted  and  dined  ever 
minute  of  her  stay,  Florence  explainei 
to  her  friends  she  could  only  remai 
a  few  days  because  Baby  and  horn 
called.  Where  on  earth  did  you  hea 
that  Katherine  Bennett  is  Miss  Vidor 
sister?  Katherine  certainly  did  accon 
pany  Florence  to  New  York,  but  just 
a  friend.  The  sister  of  Enid  Bennei 
had  the  time  of  her  young  life  heri 
Her  sole  lament  was  that  she  never  ha 
time  to  sleep.  Shopping  and  sight-seein 
by  day,  theatres  and  dancing  until  4  r 
M.  made  the  ten  days  of  her  stay  ju; 
fly. 

Harry  Singer — N.  Y.  Herewith  all  yo 
want  to  know  about  Warner  Baxte 
Born  Columbus,  Ohio;  educated  Colun 
bus  schools;  in  the  insurance  busines; 
then  stage  career,  fourteen  years  in  stocl 
vaudeville  and  Broadway  production 
Screen  career  two  years  with  twelve  pic 
tures  to  his  credit.  The  last  one  to  dati 
"Christine  of  the  Hungry-  Heart. 
Height,  5  feet  11  inches;  weight,  168- 
seems  a  pretty  hefty  lad,  doesn't  he 
Brown  hair,  brown  eyes,  and  his  addre: 
138  S.  Beachwood  Drive,  Hollvwoo( 
Calif.    ,  ,       L  .<-,,-';. 


SCREENLAND 


/jfly  jv. — Darien.  So  you  think  Norma 
Talmadge  looks  discontented  lately?  I 
know  a  splendid  oculist,  Ray!  Norma  is 
Happily  married  to  millionaire  Joseph 
Schenk,  and  her  life  seems  to  flow  on 
ike  a  beautiful  song.  Did  you  know 
she  was  going  to  play  the  Madonna  in 
"The  Miracle,"  when  that  famous  stage- 
play  reaches  the  coast? 

Infant  Prodigy.  To  be  clever  is  as 
much  a  part  of  Baby  Peggy  as  the  hole 
in  a  doughnut.  Knee-high  to  a  grass- 
hopper, yet  Peggy  is.  full  of  unusualness 
and  wit.  She  has  one  sister,  Louise,  who 
sometimes  plays  in  her  little  sister's  pic- 
tures.  Latest  rumor  has  it  that  Peggy  I 
is  going  to  take  a  flyer  in  vaudeville.  I 

llene  Stetton.  You  haven't  seen  your  [ 
favorite,  Edith  Roberts,  recently;  well, 
then,  look  out  for  her  in  "Roaring  Rails," 
starring  Hunt  Stromberg.  A  thriller, 
with  Edith  as  the  sporting  little  heroine. 
Mrs.  Emilie  Johnson  is  Emory's  mother, 
not  his  wife.  Ella  Hall  is  Mrs.  Emory, 
and  the  mother  of  three  darling  kiddies. 

Olivia  Dayton — N.  Y.  Your  invita- 
tion sounds  wonderful,  but  it's  so  many 
years  since  I  rode  horseback  that  I'd 
have  to  be  reintroduced  to  the  head  and 
tail,  and  my  sad  recollection  of  riding 
is  eating  off  the  mantlepiece  for  days  af- 
ter the  first  ride.  Latest  bulletins  re- 
port Anita  Stewart  quite  heart-whole  and 
fancy-free.  Yes,  it's  the  same  Charles 
Brabin — he  is  now  directing  "So  Big." 

Lloyd  Fine.  Rumor  hath  it  that  Gloria 
Swanson  now  holds  Ben  Lyon's  wander- 
ing affections  in  the  hollow  of  her  size 
five  palm.  From  Paris  came  a  gift  from 
Gloria  to  Bennie  of  a  phonograph  the 
size  of  a  small  vanity  box.  Wonder  if 
she  sent  him  a  record  of  her  own  melodi- 
ous voice? 

Inquisitive  Flapper — Chicago.  Pauline 
Garon  is  20,  Virginia  Lee  Corbin  just 
turned  17,  Mae  Murray  33,  Alberta 
Vaughn  19  and  Colleen  Moore  was  born 
in  1901.  Did  you  know  Colleen  is  to  be 
"Sally"  in  the  film  of  that  name?  Leon 
Errol  of  the  misbehaving  legs  takes  the 
part  he  played  in  the  original  stage  play. 
Viola  Dana  is  the  elder  of  the  two. 
Address  Viola  at  the  Lasky  Studios,  1520 
Vine  Street,  Hollywood,  Cal.,  and  Shir- 
ley at  the  Fox,  1401  N.  Western  Ave., 
Hollywood.  Let  me  know  what  the  other 
questions  are  you  want  answered. 

Marjorie  Bridge.  Here  you  are,  Mar- 
gie— Ben  Lyon  is  six  feet  and  weighs  i58, 
Eleanor  Boardman  weighs  125  and  is  5 
feet  3,  Haines  is  5.10  and  weighs  about 
150,  and  Winifred  Bryson  is  5.4  and 
weighs  125  lbs. 

Grace  Clark — Newburgh,  N.  Y.  Bes- 
sie Love  is  the  lady  star  in  "Sundown." 
It's  a  story  of  western  cattle  ranges,  with 
a  cattle  stampede,  a  prairie  fire,  and  such 
things.    Bessie's  fine,  of  course. 


Why 

Warner  Bros.  Pictures 
Arc  Americas  Choice 

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"Three  Women" 

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From  David   Belasco's  Stage- 
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Morris. 

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From  a  Song  Theme  by  Charles 
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From  the  Novel  by  Mrs.  W.  K. 
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"My  Wife  and  I" 

"Recompense" 

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"The  Dear  Pretender" 

From  the  Novel  by  Alice  Ross 
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"^RANCES  HOWARD  has  made 
good.  The  Broadway  stage  in- 
genue, whom  Famous  Players  ele- 
vated to  a  princess  over-night  for 
"The  Swan"  is  making  another  picture  for 
the  same  company.  She  will  play  the  role 
for  which  Agnes  Ayres  was  originally 
slated  in  "A  Kiss  in  the  Dark,"  which, 
on  the  stage,  was  known  as  "Aren't  We 
All?"    Adolph  Menjou  is  also  featured. 

Famous  Players  recently  gave  a  tea  at 
their  studio  in  honor  of  Miss  Howard. 


!  HPhe  night  that  the  new  musical  com- 
edy,  "Madame  Pompadour,"  opened 
in  New  York  Hope  Hampton  and  her 
husband,  Jules  Brulatour,  attended  a 
performance  of  "Peter  Pan"  at  another 
theatre. 

Sounds  funny.  But  the  fact  is  that 
Hope,  although  she  will  go  down  in  stage 
history  as  the  original  American  "Pom- 
padour," as  she  played  the  part  in  the 
several  weeks'  run  of  the  operetta  out- 
side Manhattan,  was  superseded  in  the 
role  by  Wilda  Bennett.  Back-stage  pol- 
itics are  rumored  to  be  the  reason,  as 
Miss  Hampton,  making  her  footlight  de- 
but in  Philadelphia,  was  accorded  a  won- 
derful reception  and  was  enthusiastically 
received  even  by  the  critics,  who  praised 
her  beauty,  her  voice,  and  her  general 
fitness  for  the  role.  Last  reports  have 
it  that  she  will  yet  play  the  part  in  New 
York.  If  that  can't  be  arranged,  we  sug- 
gest to  Hope  that  she  make  a  motion 
picture  of  "Madame  Pompadour" — it 
has  splendid  screen  material. 

By  the  way,  at  that  same  performance 
of  "Peter  Pan"  there  were  Mr.  and  Mrs. 
James  Kirkwood — Lila  Lee,  you  know. 
The  Kirkwoods  came  east  to  show 
James,  Jr.,  the  sights  of  the  town — and 
incidentally  to  permit  Pa  Kirkwood  to 
appear  in  a  new  Belasco  play;  and  Lila 
to  play  opposite  Tommy  Meighan  in 
"Bed  Rock"  and  maybe  to  make  a 
vaudeville  appearance.  Parenthood 
hasn't  added  a  month  to  the  Kirkwoods' 
ages — in  fact,  it  seems  to  have  shrunk 
them.  Maybe  it's  because  they  look  so 
happy. 


While  Norma  Shearer  was  here  with 
her  mother  on  a  combined  business 
and  pleasure  trip  she  was  seen  in  the 
Hotel  Algonquin  with  Ben  Lyons,  but  so 
far  their  engagement  has  not  been  an- 
nounced. 


jnce  again  the  question  comes  up:  is 
motion  picture  production  moving 
from  Hollywood  to  New  York?  The  an- 
swer, again,  is  no.  Companies  always 
have  and  probably  will  continue  to  send 
units  to  New  York  now  and  then,  but 
Manhattan  hardly  looms  large  as  a  rival 
to  Hollywood  as  the  film  capital  of  the 
world. 

Some  time  ago  it  was  announced  that 
Paramount  would  center  its  production 
in  the  east.  Cecil  B.  de  Mille  almost 
decided  to  make  "The  Golden  Bed"  in 
the  Long  Island  City  studio.  But  so  far, 
William  is  the  only  de  Mille  to  come 
east.  He  has  arrived  with  his  entire 
working  staff  and  will  remain  three 
months  or,  if  his  next  picture  requires, 
longer. 

First  National  has  opened  an  eastern 
studio  for  the  first  time  in  its  history. 
As  a  matter  of  fact,  it's  an  old  studio 
revamped:  the  Biograph  up  in  the 
Bronx.  It  is  perhaps  the  most  modem 
of  all  the  eastern  studios  except  Famous 
Players.  First  National  will  at  least  give 
New  York  a  chance  to  show  its  stuff  as 
a  production  center.  Earl  Hudson,  First 
National  manager  of  production,  is  all 
for  it.  Other  officials,  including  John 
McCormick,  stick  to  Hollywood. 

Colleen  Moore's  new  picture,  "Sally." 
from  the  stage  play  starring  Marilyn  Mil- 
ler, in  which  Leon  Errol  will  again  play 
his  original  role,  is  under  way  in  Holly- 
wood. So  is  Corinne  Griffith's  "Declasse." 
On  the  other  hand,  Lambert  Hillyer  is 
making  a  picture  in  the  east.  "Inter- 
preter's House,"  featuring  Milton  Sills 
and  Doris  Kenyon.  Phyllis  Haver,  she  of 
the  shapely  underpinnings,  is  another  star 
in  the  east.  Anna  Q.  Nilsson  and  Ben 
Lyons  are  working  in  "The  One  Way 
Street,"  which  is  timely,  considering  ail 
the  to-do  Western  picture  folks  make 
about  N.  Y.  traffic. 


N 


ita  Naldi  came  home  on  the  same 


says  she  is  still  "heart-free."  Instead  of 
a  husband  she  brought  home  a  very  small 
dog — a  pedigreed  whatsit.  Nobody  knows 
but  Nita. 

*    *  * 

Jack  Dempsey  hasn't  said  so,  but  it's 
reasonable  to  assume  that  "th? 
champ"  is  through  with  pictures.  He 
has  been  playing  in  Loew  vaudeville — 
be  sure  that  that  "e"  goes  in,  printer— 
in  and  around  New  York;  and  has 
broken  theatre  records  eve-,  vwhere.  Hi- 


SCREENL  AN  D 


7 


receives  $5,000  a  week  as  remuneration. 
His  act  consists  of  an  exhibition  of  his 
prowess  as  a  star  of  the  squared  circle. 


The  Talmadges  have  packed  their 
makeup  boxes  in  moth-balls  and 
lccked  their  dressing  room  doors.  No 
more  work  until  spring  for  Norma,  Con- 
stance, mother  Peg,  and  Joe  Schenck. 

Soon  after  Schenck  cast  his  lot  and 
the  Talmadge  sisters'  with  the  United 
Artists  group  the  family  sailed  for  a 
three  months'  vacation.  They  will  visit 
France,  England,  Italy  and  Spain.  Both 
Norma  and  Connie  are  several  pictures 
ahead  of  their  schedule,  so  they  have 
■earned  their  pleasure  jaunt.  While 
abroad,  it  is  said  the  Schencks  will  try 
to  persuade  Gloria  Swanson,  in  Paris,  to 
sign  with  United  Artists  when  her  pres- 
ent contract  expires.  Gloria  is  one  of  the 
big  bets  now,  and  many  producers  are 
angling  for  her  services.  New  Parisian 
pictures  of  Miss  Swanson  show  her  in  a 
brand-new  hair  cut — close  and  short, 
somewhat  the  style  which  was  in  vogue 
when  our  mothers  were  flappers.  Gloria's 
picture  to  follow  "Madame  Sans-Gene'' 
|  is  "The  Coast  of  Folly,"  with  Allan  Dwan 
at  the  megaphone.  Some  of  the  scenes 
for  it  will  be  "shot"  in  Paris,  which  is 
1  still  all  worked  up  over  having  such  a 
smart  star  as  Gloria  in  its  midst. 


When  is  a  beard  not  a  beard?  When 
it  belongs  to  Rudolph  Valentino. 
Beards  have  not  been  popular  among 
our  so-called  younger  set  since  the  days 
when  the  last  word  in  parlor  decorations 
:  was  a  stuffed  canary  under  glass.  A  Van 
Dyke  may  have  been  admitted  a  becom- 
ing hirsute  adornment  to,  say,  an  elderly 
foreign  diplomat;  but  right  here  at  home 
it  is  the  clean-shaven  youth  who  cleans 
up  in  other  ways  also. 

That  is,  it  was  this  way  until,  over  on 
the  Riviera,  Rudie  decided  his  next 
picture  was  to  be  a  Moorish  story;  and 
simultaneously  made  up  his  mind  to  sac- 
rifice all  for  art.  In  fact,  to  let  his 
beard  grow.  The  girls  over  here  heard 
about  it  and  were  in  the  act  of  burning 
all  their  pictures  of  their  idol  when  he 
arrived  on  these  shores  in  person.  And 
the  girls  changed  their  minds. 

Rudie's  beard  is  a  cunning,  compact 
little  one  which  merely  gives  him  an 
added  dignity  and  maybe  adds  a  few 
years  to  his  thirty.  He  doesn't  stroke 
lit  adoringly  as  so  many  gentlemen  per- 
sist in  caressing  theirs.  "I  plan  to  wear 
a  black  wig  in  'The  Scarlet  Power,'  "  he 
explained;  "and  this  beard  will  take 
away  any  tenden  cies  the  wig  might  give 
me  towards  a  Dutch  bobbed  look.  Be- 
sides, in  the  first  part  of  the  picture  I 


play  a  young  man,  smooth-shaven.  As  I 
grow  so  does  my  beard." 

That  makes  it  all  quite  logical.  "The 
Scarlet  Power"  is  an  original  story,  and 
the  scenario  is  in  the  hands  of  June 
Mathis,  who  helped  discover  Rudie  in 
"'The  Four  Florsemen"  and  whom  he 
avows  there  is  none  than  whomer  in  her 
line.  Joseph  Henabery  will  direct,  and 
the  him  is  being  started  now  in  California, 
with  Nita  Naldi  as  leading  lady. 

"I  don't  want  any  one  to  think,"  em- 
phasized the  star,  "that  merely  because 
I  have  the  absolute  and  final  okay  on 
everything  to  do  with  my  picture  that  I 
mean  to  take  advantage  of  it.  My  busi- 
ness is  acting;  I  have  all  I  can  do  to  take 
care  of  it.  Why,  then,  should  I  try.  to 
tell  expert  artists  in  their  lines  how  to 
perform  their  work?  I  never  have  and 
never  will.  'The  Four  Horsemen'  was  a 
great  success;  it  had  no  star.  I  want  my 
part  to  stand  out  because  of  any  merit 
I  may  give  it,  not  because  the  attention 
of  the  audience  is  being  continually  called 
to  it  by  means  of  close-ups  every  few  feet. 
No  audience  wants  a  star  forced  upon  it. 
It  prefers  to  judge  for  itself.  And  I  fig- 
ure that  the  better  the  story,  directing, 
sets  and  work  of  other  members  of  the 
cast,  the  more  chance  I  will  have  to 
make  good." 

Mrs.  Valentino  will,  as  usual,  supervise 
her  husband's  productions.  She  helps  to 
cast  the  pictures,  design  the  sets,  and 
cut  and  edit.  Rudie  saw  the  first 
"rushes"  of  "Monsieur  Beaucaire,"  but 
that  was  the  last  he  saw  of  his  best  pic- 
ture until  it  had  been  completely  cut  and 
titled. 

Just  to  prove  he  is  not  ashamed  of  it, 
Rudie's  company  gave  a  dinner  dance  to 
his  beard  at  the  Ritz-Carlton.  Every 
gentleman  present  was  handed  a  copy  so 
as  not  to  feel  out  of  place,  or  passe.  He 
was  also  given  a  razor,  in  case  the  beard 
didn't  match.  Mrs.  Rudie,  looking  gor- 
geous, Nita  Naldi  and  other  screen  cel- 
ebrities were  there. 


Advices  from  abroad  are  that  Ramon 
Novarro  is  considering  a  retirement 
from  the  screen  to  devote  his  time  to  a 
concert  career.  Dry  your  tears.  It's 
exceedingly  unlikely  that  young  Ramon 
is  considering  such  a  thing  very  seriously. 
He  has  a  most  lucrative  contract  to  ful- 
fill first  and  by  that  time  he,  or  his 
press  agent,  will  have  forgotten  about  it. 

It  all  came  about  through  Lucien 
Muratore  and  his  wife,  Lina  Cavalieri, 
visiting  the  "Ben  Hur"  company  in 
Rome,  and  hearing  Novarro  warble.  The 
story  goes  that  they  exclaimed,  "Oh," 
or  whatever  it  would  be  in  French;  and 
advised  him  to  take  up  a  musical  career 
in  earnest.  But  Ramon  continues  to  sing 
silently  for  the  screen, 


Couldn't  Play  a  Note — 
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but  I  hesitated  a  long  tim6  as  I  didn't  know  a  note  of  music. 
I  finally  decided  to  try  it  a  week,  as  you  offered,  and  at  the 
end  of  that  time  I  found  I  could  pick  a  few  notes.  Then  I 
started  the  correspondence  course  yoa  furnished,  and  in 
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Now  I  am  making  $100  a  week,  three  times  what  I  made  as 
a  clerk.  Two  of  my  friends  made  money  with  their  instru- 
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Nam.';. 


Address  

City    State. 


iTZStnimeni-    -—  

(State  instrument  in  which  yon^re^nteKsted^^^ 


Copvrioht  im,  The  Rudolph  Wu: 


SCREENLAND 


.  .Yc^,of  cxyujjc  it'A  doL.  uufw  ahxmlxL, 
know  it  cu  axil  cu>  a  uwman  Like 
mc  urnmt  Lifamrk  luu  Urn  dtiLcluuiq 
other    9 


uuxrmax 


One  of  the  worst  enemies  of  true  beauty 
is  the  woman  who  uses  the  utmosl  mis- 
directed thoughtfulness  about  "keeping 
herself  beautiful  at  any  cost"  .  .  .  who 
lives  merely  to  plan  costumes  for  herself 
.  .  and  who  slill  is  so  much 
iv hat  in  her  heart  of  hearts 
she  does  not  like  to  be  .  .  . 
And  just  because  there  is 
occasionally  a  woman  like 
that  is  the  reason  that  so 
many  husbands  sneer  before 
their  wives  about  ((some 
women"  .  .  ! 

But,  poor  child!  .  .  .  she 
is  only  to  be  sympathized . .  . 
She  knows  nothing  of  life  .  .  she  spends  all 
her  time  on  herself -and  always  on  the 
wrong  track. 

But  you!  ....  you  have  a  hundred 
interests  outside  yourself  .  .  things  you 
are  planning  to  do!  .  .  people  you  are 
making-happy  ! 


It  is  for  you  that  I  have  made  my 
beautiful  Valaze  Skinfood  .  .  that  take 
no  hours  over  a  dressing  table  .  .  that  isi 
may  I  say,  "fool  proof"  .  .  .  Why,  it 
would  not  take  you  two  minutes  tonight, 
.  to  put  it  on  .  .  and,  while 
you  are  asleep,  it  is  creating 
that  beauty  of  skin  which 
beams  from  your  mirror  in 
the  morning. 

W by  not  let  those  hours  oj 
sleep  do  something  wonder- 
ful for  you  besides  resting 
you? .  .  Let  them  be  making 
your  skin  fairer,  finer  and 
firmer. 

Or,  you  can,  instead,  use  it  at  any 
convenient  time  during  the  day,  — for 
the  clarity  of  your  skin  and  the  fine 
quality  of  its  texture  ....  Texture 
texture .  .  .  the  true  secret  of  skin  beauty, 
and  Valaze  Beautifying  Skinfood  is  its 


creawr. 


r 


A  dollar,  two-fifty  or  four-fifty  according  to  the  size  of  jar,  and  to  be  had  at 
leading  stores  or  direct. —Nor  should  you  be  without  my  booklet,  "Beauty  for 
Every  woman, "  which  my  secretary  will  be  glad  to  send  you. 


BOSTON,  MASS. 

234  Boylston  St. 

Chicago,  III. 

30  N.  Michigan  Ave. 

Newark,  n.  J. 

951  Broad  St. 


NEW  YORK  CITY 

46  West  57th  Street 
HOLLYWOOD,  GAL,.  1780  Highland  Avenue 


Detroit,  Mich. 

1540Washington  Blvd. 

PARIS 

126  Rue  du  Faubg.  St.,  Honore 

LONDON 

24  Grafton  St.,  WI 


Her  eyes  were 
brown  with  flecks 
of  bronze  in  them. 


Drawn  by  Loran  F. 
Wilford.  For  Real 
Life  Stories. 


R  eal  Life  Stories 

A  new  type  of  magazine  has  been  achieved  by  Real  Life  Stories; 
it  has  the  following  appealing  characteristics: 

All  Stories  Complete  in  Each  Issue 

There  are  no  serials  in  Real  Life  Stories.  Each  story  is  carried  through  swiftly  from 
its  beginning  to  its  end  so  that  you  can  enjoy  the  narrative  as  the  author  wrote  it  and  not 
piece-meal  to  serve  the  needs  of  some  editor.  No  division  into  many  parts  with  thirty  days' 
lapse  between  installments.  No  "Continued  in  Our  Next  Number"  just  as  the  suspense  is 

greatest.  • 

But  complete  short  stories  that  are  brimming  with  life  and  adventure  and  romance, 
full  of  drama  and  pathos  and  emotion,  backed  by  colorful,  distinctive  settings  that  carry  you 
far  away  into  the  lives  of  other  people. 

Easy  and  Delightful  Reading 

There  are  many  pages  of  unbroken  text  in  Real  Life  Stories.  This  enables  the  reader 
to.  enjoy  the  author's  artistic  creative  labors  without  the  distracting  interruption  of  too  many 
illustrations.  The  make-up  of  this  magazine  is  unique.  There  is  no  other  magazine  which 
courageously  gives  the  author  a  fair  opportunity  to  entertain  his  reader,  but  which,  at  the 
same  time,  is  beautifully  illustrated. 

Illustrations  That  Have  Beauty  and  Spirit 

Illustrations,  many  of  them  in  color,  which  picturize  the  stories  and  verse  in  Real  Life 
Stories,  are  the  work  of  the  younger  illustrators  in  the  art  world.  In  selecting  illustrators, 
preference  is  given  to  men  who  are  familiar  with  the  scenes  they  are  to  depict.  Such  men 
as  A.  J.  Trembath,  Loran  F.  Wilford,  Edward  Ryan  and  Addiso?i  Burbank  have  given  the 
pictorial  presentation  of  this  magazine  c  very  high  standing  in  the  periodical  world. 

Manuscripts  Solicited 

Real  Life  Stories  will  be  very  glad  to  read  stories  that  are  picturesque  in  setting  and 
have  a  dramatic,  emotional  quality.    It  pays  on  acceptance  for  manuscripts. 


^Announcement  to  the  %eaders  or 
SCREENLAND 


The  reader  will  note  that  this  issue  is  dated  February  and  that 
the  distribution  and  delivery,  the  printing,  packing  and  editorial 
work  on  the  paper  have  been  carried  to  a  point  where  this  magazine 
appears  early  in  the  month  preceding  its  date. 

This  has  been  brought  about  by  collaboration  between  the  me- 
chanical department  and  the  editorial  staff,  so  that,  while  the  forms 
do  not  close  until  much  later  than  all  other  magazines  bearing  the 
same  date,  the  magazine  will,  nevertheless,  appear  on  the  stands 
earlier  than  most  monthly  publications. 

To  achieve  this  desirable  result,  it  has  been  found  advisable  to 
date  this  issue  February  instead  of  January. 

All  subscriptions  will  be  extended  one  month.  With  the  per- 
fectly co-ordinated  editorial  and  mechanical  departments  we  believe 
that  the  SCREENLAND  readers  will  find  the  latest  news  of  the 
recent  releases  and  of  the  screen  personalities  in  this  magazine  earlier 
than  in  any  other. 

'The  ^March  Issue  of  Screenland 

will  have  an  interesting  story  on  New  York  First  Nights. 

A  story  from  Hollywood  of  the  dramatic  moment  when  the  "Rushes"  are  shown  and 
the  director  and  the  players  first  see  the  result  of  their  labors. 

The  reviews  of  the  latest  films  by  Delight  Evans.  Miss  Evans  has  won  for  herself, 
not  so  much  respect  for  fearlessness,  for  it  is  very  easy  for  a  critic  to  attack  mercilessly, 
but  a  reputation  among  the  directors  of  appreciating  what  they  are  trying  to  do  and  en- 
couraging them  to  renewed  effort. 

The  Gossip  of  the  Screen  World.  Appears  in  Screenland  every  month  from  many 
different  writers  who  are  actually  engaged  in  the  making  of  the  films;  gives  the  reader  the 
intimate,  inside  atmosphere  of  the  studios  as  well  as  the  news  of  incidents  and  occurrences 
in  the  lives  of  the  great. 


%ead  SCREENLAND  for 
MARCH 


S  CREENLAND 


r Hello, 

(jEORGIA 

Dame  Fortune  has  been 
shaking  her  dice  box 
again,  and  this  time  the 
prize  has  fallen  to  Miss 
Georgia  Hale.  She  is  the 
latest  "find"  of  Holly- 
wood because  of  her 
work  in  "The  Salvation 
Hunters"  which  Joseph 
Von  Sternberg  directed. 
Douglas  Fairbanks  has 
signed  Miss  Hale  for  his 
leading  lady. 


Qeorgia  Hale 


^Pauline  Stark  and 
William  Collier,  Jr. 

As  they  appear  in  -'The  Devil's  Cargo" 


i^Mary  ^Astor 

In  "Inez  from  Hollywood",  and  now  making  -Enticement 


QYoud  think 
Colleen 
Moore  would 
fee!  "So  Big" 
as  well  as  act 
it,  for  that's 
her  new 
Packard,  and 
it's  her  new 
house  too. 


(\V  i  r  g  i  n  i  a 
Valli,  '  Lloyd 
Hughes  and 
George  Faw- 
cett  trying  to 
lake  their 
minds  off 
their  bank  ac- 
counts. 


Like  That 

in  HOLLYWOOD 

They  have  so  much  fun  when  they  are 
working  that  they  are  ivilling  to  do  it 
for  only  tivo  or  three  thousand  a  week 


(\Georgc  Fuzmaurice 
and  John  Patrick 
surrounded  by  the 
bevy  of  polo  play- 
ing bathing  girls 
who  appear  in  Fitz- 
maunce's  "A  Thief 
in  Paradise.'' 


14 


Id  1  lots  for 


ew 


By  Myron  2,obel 


Dear  Reader: 

TTAST  night  I  saw  Elinor  Glyn's  screenplay,  ''His  Hour,"  and  1  en- 


joyed it.  The  man  who  sat  next  to  me  said  it  didn't  have  any 
Jl  originality  of  plot.  Of  course  it  didn't  have  a  new  plot.  But 
what  did  that  matter?-  It  had  treatment.  It  had  atmosphere.  It  had 
really  intelligent  casting.  It  had  imaginative  direction.  It  had  subtlety. 
It  had  human  touches.    And  I'll  exchange  that  for  a  new  plot  any  day. 

Men  who  have  spent  years  at  research  tell  us  that  there  are  only 
thirty-six  plots  and  that  there  never  can  be  any  more.  These  cover  the 
only  possible  situations  which  the  conditions  of  life  as  we  know  it  can 
create;  the  rest  is  merely  development. 

These  thirty-six  situations  are  enough  for  me.  Personally  I  wish 
there  were  not  so  many.  I  wish  there  were  only  one  or  two.  Then  play- 
wrights would  have  time  to  study  those  two  till  they  knew  them  and  to 
spend  the  rest  of  their  time  in  treatment. 

Shakespeare  is  sometimes  credited  with  fair  success  as  a  playwright. 
But  vou  never  heard  of  Shakespeare  trying  to  create  newer  plots.  What 
he  was  after  was  older  plots.  And  he  took  them  wherever  he  found 
them.  From  histories  and  chronicles.  From  fables  and  folk-lore.  From 
other  playwrights.  His  work  began  where  the  others  finished.  Because 
he  didn't  rack  his  brain  for  new  situations,  but  for  new  ways  of  treating 
old  ones. 

People  of  today  are  the  same  as  they  were  in  Shakespeare's  day. 
Their  clothes  have  changed  a  little;  but  their  minds  hardly  at  all.  What 
do  they  know  of  plot  and  counterplot  and  the  niceties  of  situation  and 
circumstance?  They  meet  old  plots  in  the  theatre  like  they  do  old 
friends  in  the  street.  Their  freshness  and  their  charm  does  not  wear 
off  if  the  friends  be  worthy. 

I  have  my  favorite  plots  just  as  I  have  my  favorite  chair  by  the  fire, 
my  favorite  book  on  the  shelf,  my  favorite  slippers  beside  my  couch. 
Madame  Glyn  has  hit  on  my  favorite  plot.  It  is  the  love  of  young 
hearts,  estranged  and  then  united.  If  that  plot  is  too  old  for  you,  dear 
reader,  you  don't  belong  in  a  movie  theatre;  you  belong  in  a  grave. 


HE'S  the 


ETTIEST 


( Norma  Shearer  is  the  girl; 
here  she  is 
in  n  Empty  Hands'' 


Q"/  found   her  a   nice  friendly  girl 
with  a  new  way  of  fixing  her  hair." 


-QRMA   SHEARER  doesn't   know  it,  but  she 
marks  a  new  era  in  the  history  of  motion  pictures. 

She  hasn't  discovered  a  new  color  process,  nor 
invented  a  fuzzy  close-up.  And  it  isn't  because 
she  has  been  called  the  prettiest  ingenue  on  the  screen  either. 
She  is  simply  the  first  of  the  new  school  of  young  women 
who,  with  no  experience,  no  influence,  no  publicity,  has 
pulled  herself  up  from  extra  to  star.  She  isn't  a  star  in 
billing  quite,  but  the  other  day  I  saw  "Norma  Shearer" 


in  electrics  on  Broadway,  and  so  her  day  of  triumph  is 
not  very  far  off. 

I  know  some  one  who  "knew  her  when."  When,  soon 
after  the  war,  she  came  to  New  York  to  seek  her  fortune — 
eager,  hopeful,  unbelievably  young — just  one  of  thousands 
of  girls.  And  yet  not  one  of  them.  She  was  different. 
The  friend  who  knew  her  then  told  me  the  other  day,  "I'd. 
like  to  see  Norma  now.    I  wonder  if  she's  changed?  The 


16 


GIRL  in  PICTURES 

nd  You  Can  Tell 
Them  J  Said  So 


last  time  I  saw  her  she  said  to  me, 
'I've  been  in  this  game  five  years  now. 
And  I've  done  nothing;  got  nowhere.  I 
don't  know  whether  I  can  stick  it  out 
or  not.'  " 

That's  why  I  was  curious  about  her. 
I  wanted  to  see  what  there  was  about 
this  girl  that  made  her  go  on — and  keep 
on  going — until  she  did  "get  some- 
where— do  something."  What  peculiar 
kind  of  courage  did  she  have?  And 
had  her  years  of  struggle  left  scars 
that  success  had  not  erased? 

In  fact,  I  felt  like  a  sob-sister  when 
I  knocked  at  her  door.  At  first  I 
thought  the  editor  must  have  got  the 
appointment  mixed.  The  Prince  of 
Wales  was  supposed  to  have  left  New 


(\She  sat  on  the  bed  with,  her 
feet  tucked  under  her  as  only 
young  girls  can  do.  And 
Delight  Evans  found  her 
lovely. 


Bj/  Delight  E vans 


(\Norma  Shearer  says,  "If  your 
luck  only  gets  bad  enough, 
it's  just  bound  to  clia'nge/'  . 


(\"Norma  Shearer's  shin  is  as 
smooth  and  white  as  a 
baby's — " 

York  long  ago,  but  you  never  car. 
tell  what  his  royal  slyness  may  be 
up  to.  How  did  I  know? — he  might 
have  slipped  back  in  his  quiet  Ren- 
frewish  way  to  see  some  musical 
show  he  missed  while,  he  was  here. 
I  wasn't  sure  whether  I  should 
curtsy  or  fall  down — one  would  lead 
to  the  other  with  "me;  So  I  stood 
there  and  looked  at  the  Prince's  head 
poked  out  of  the  door — hair  slicked 
smoothly  back,  boyish  grin  illum- 
inating- that  freshly-scrubbed  face. 
It  wasn't  until  later  that  I  noticed 
the  Prince  seemed  to  be  wearing 
skirts. 

Just  a  slight  slim  figure  in  tweeds; 
hair  pulled  back  to  show  a  nice  fore- 
head and  small  ears.  A  frank,  firm 
hand-clasp;  a  fresh,  eager  voice.  I: 
was  Norma  Shearer.  She  sat  on  the 
bed  with  her  feet  tucked  under  her, 
as  only  very  young  girls  can  do. 
'  This  is  a  vacation  for  me  and  I  though: 
I  can't  bob  it.    There  are  so  few  girls 


"Yes — it's  the  hair!''  she  laughed. 
I'd  give  the  old  mop  a  bit  of  rest, 
left  with  long  hair  if  I  cut  mine,  my  company  would  fire  me.'' 

Telephone.  Would  Miss  Shearer  care  to  see  "The  Guardsman"  that  night? 
Oh,  Miss  Shearer  had  seen  it?  Then  how  about  "Silence" — H.  B.  Warner  is 
so  good  in  that?    Fine,  splendid. 

Back  to  the  bed.  "Oh,  I  wish  I  could  stay  here!"  she  sighed.  "California 
sun  makes  your  hair  brittle  and  maybe  does  something  like  that  to  your 
mind,  too.    I  wish  " 

Tap — tap.  "Flowers,  Miss  Shearer!"  Lovely  orchids.  She  held  the;-  2 
second  to  her  glowing  face,  as  a  child  might.  And  like  a  child,  she  showed  me 
a  diminutive  black  teddy  bear  named  Lulu.  And  pointed  to  a  portrait  of 
the  Prince  of  Wales  himself,  on  her  dressing  table.  There  was  another  picture 
there,  too — a  larger  one — of  an  unfamiliar  young  man — as  good-looking  in 
his  sterner  way  as  H.R.H. 

"A  newspaper  came  up  here  for  flashlights."  she  confided.  "When  the 
pictures  were  finished,  there  was  the  larger  photograph  showing  up  very  plain 

17 


18 


SCREEN! AND 


The  reporters  asked  me  if  they  could  print  a  story  that 
it  was  my  fiance  and  that  I  was  here  to  buy  my  trousseau, 
imagine!  I  said  of  course  not — it  was  a  picture  of  my 
brother." 

Incidentally,  it  isn't.    But,  as  she  herself  said,  she  has 
a  brother,  and  it  might  very  easily  have  been. 

Here  I  had  come  to  interview  a  beautiful  motion  pic- 
ture star  about  the  struggles  of  her  soul.  And  I  found 
a  nice,  friendly  girl 
whose  new  way  of 
fixing  her  hair  made 
her  look  like  the 
Prince  of  Wales.  I'd 
gone  on  record  root- 
ing for  her  as  the 
prettiest  girl  in  pic- 
tures and  I  meant  to 
stick  to  it.  I  thought, 
any  girl  who  can 
squeeze  her  hair  back 
and  let  her  ears  show 
and  conceal  her  bath- 
ing-s  u  i  t-figure  i  n 
rough  tweeds,  has 
earned  the  title. 
(Only  there  are  so 
many  of  those  "pret- 
tiest girls."  If  the 
girls  whom  Mack 
Sennett  alone  has-  de- 
clared the  prettiest 
were  laid  end  to  end 
— but  then  I  am  sure 
we  all  hope  they 
never  will  be.) 
Norma,  I  kept  reas- 
suring myself,  lives 
up  to  all  the 
miums  heaped 
her  small  head, 
she  hasn't  the 
of  a  Norma 
madge.  Her  face  is 
not  the  marvellous 
mixture  of  madonna 
beauty  and  mockery 
that  Corinne  Griffith's 
is.  Nor  so  wistfully 
appealing  as  Lillian 
Gish's;  nor  so  pi- 
quantly  child-like  as 
Mary  Pickford's. 

Still — it's  the  prettiest,  freshest,  youngest  thing  on  the 
screen. 

But  as  I  looked  at  her,  I  couldn't  believe  it  was  the 
same  girl  who  had  transformed  "Empty  Hands"  from 
hokum  into  honest  drama.  I  couldn't  reconcile  this  Norma 
with  the  exquisite  Consuelo  of  "He  Who  Gets  Slapped." 
This  couldn't  be  the  girl  who  had  been  slowly  and  labor- 
iously climbing  the  creaky  old  ladder  of  fame  for  more 
than  five  years — it  must  be  her  little  sister.  Her  eyes  were 
too  clear  and  shining.  Her  skin  as  smooth  and  white  as  a 
baby's.  Her  color  came  and  went  like  a  shy  school-girl's. 
It  couldn't  be  true! 

And  then — she  remarked  quite  casually  that  the  only 
unusual  things  about  her  were  that  she  had  never  won  a 
beauty  contest,  or  been  in  the  Follies. 

I  thought  she  had  won  a  beauty  contest.  I  couldn't 
imagine  what  else  had  brought  her  from  her  home  in  the 


enco- 
upon 
True, 
poise 
Tal- 


"  She's  the  ft 
thing  on  the  so 


first  place.    She  told  me.    And  in  the  telling  answered  all 
my  questions.    It  wasn't  in  the  usual  way  of  an  actress 
relating  in  business-like  fashion  the  facts  of  her  career.  It 
was  a  girl  telling  another  girl  how  it  all  happened;  and  as 
she  sat  there  and  talked,  she  pleated  her  handkerchief,  or 
smoothed  her  hair,  until  she  began  to  feel  that  I  listened 
with  the  interest  of  a  sympathetic  friend,  not  an  inquisitive 
stranger.   Norma  Shearer  came  from  a  good  Canadian  fam- 
ily— the  kind  of  fam- 
ily   which    does  not 
bare    its    heart  too 
casually ;    whose  af- 
fairs are  its  own  and 
have  been   for  gen- 
erations.    She  went 
to  good  schools;  she 
"belonged."    She  has 
the    unconscious  re- 
serve   of    the  shel- 
tered, well-bred  girl. 
Her    father    was  a 
well  known  business 
man     of  Montreal. 
The  war  came — and 
went;    and   with  it 
went    the  Shearer 
business.    She  said 
with  a  shrug  and  a 
smile  —  a  rather 
twisted  smile : 

"There  was  only 
one  thing  that  I  could 
have  done  at  home — ■ 
work  in  a  bank.  I 
didn't  like  the  idea  of 
counting  other  peo- 
ple's money  when  I 
might  be  making  my 
own.  So  I  persuaded 
mother  to  come  to 
New  York.  I  had 
confidence  that  I 
could  find  something 
to  do.  After  all,  if 
you  can  do  anything 
at  all,  New  York  is 
the  place  for  you — I 
thought  so  then,  and 
I  still  believe  it,  even 
though — "  she  paused, 
then  smiled  again,  "it 
took  me  so  long. 
"I  haven't  any  divine  faith.  So  many  people  believe 
that  if  you  wait  long  enough  things  are  bound  to  come  to 
you.  But  I— I  have  found  that  if  your  luck  only  gets  bad 
enough,  it's  just  bound  to  change.  Mine  got  about  as 
bad  as  it  could.  I  was  bubbling  over  at  first.  I  kept  going 
to  the  companies  and  the  agencies  with  my  little  bunch 
of  photographs  under  my  arm.  I  wasn't  easily  discour- 
aged. I  kept  at  it."  She  stopped  again  and  looked  away. 
Maybe  she  was  looking  at  that  confident,  plucky  little 
girl  who  used  to  be— that  little  girl  who  wouldn't  take 
"No"  for  an  answer,  no  matter  how  brusquely  or  how  often 
it  was  given. 

"I  kept  at  it."  she  said  again.  "And  then  just  when 
things  seemed  blackest — my  luck  changed.  I  was  given  a 
small  part.  That  led  to  others.  I  never  did  anything  to 
boast  about  in  the  eastern  studios,  but  at  least  I  did  work. 
And  when  my  present  manager       {Continued  on  Page  93) 


eshest,  youngest 
een." 


.  .  Svelyn  ^Erent 

if  you  saw  her  in  "  The  Dangerous  Flirt, 
you  will  see  "Silk  Stocking  Sal" 


Doris  Kenyon 

In  "If  I  Marry  Again."    She  looks 

as  if  she  could. 


By  the  Beard  of  the  Profit 


99 


<\Even  the  picture  has  whiskers. 
Rudolph  Valentino  and  lace  cur- 
tains. 


"O  udolph  Valentino,  knowing  that  his  next  film  would 
■ILV  show  a  bearded  moor,  decided  to  grow  a  beard.  This 
is  the  explanation.  But  if  Rudolph  Valentino  has  the  under- 
standing of  publicity  that  we  think  he  has,  the  beard  was 
grown  entirely  for  the  dear  public  to  marvel  at — and 
marvel  they  did. 

There  are  60.000  newspapers  in  the  United  States  and 


it  is  probable  that  Rudolph  Valentino's  beard  was  com- 
mented upon  in  each  paper,  and  not  only  commented  upon 
but  given  the  glory  of  the  front  page. 

A  little  mental  arithmetic  shows  us  that  if  there  are 
60,000  papers,  and  if  a  dollar  a  line  be  a  conservative  es- 
timate of  the  value  of  this  space,  and  if  each  paper  used 
ten  lines,  we  find  Mr.  Valentino's     {Continued  on  Page  91 ) 


21 


out/Write  It, 


PLAIN  -  D1STAIIT  SHOT 
A  railroad  track 


END  OF  JEACK 


A  large  gang  of  men  are  at  work  laying 
roils,  carrying  them  from  a  wagon  and 
laying  them  on  the  ties,  and  then  driving 
the  spikes  with  sledge  hammers.  Surest 
the  system  in  which  thin  is  done.  Two 
men  lay  the  rail,  four  others  quickly 
piece  the  spikes  and  four  men  with  sledges 
hammer  them  home.     The  men  are  costly 
lris!:men       a  number  of  them  wear  their 
eld  uniforms  of  the  Civil  V7ar ,  and  guns 
are  stacked  beside  them.     Here  and  there 
are  piles  of  railroad  ties  end  railroad  ' 
Tts.il 8,  behind  which  they  may  seek  cover 
In  case  they  are  attacked  by  Indiana. 
Behind  then,   niandlng  on  the  track,  io 
the  construction  train.    Ahead  of  thera, 
stretching  out  into  the  distance,  are 
the  laid  ties  without  roils. 


They  are  singing. 


CLOSE  SHOT  OF  THE  TIES 

(Place  the  camera  close  to  the  groun 
Men's  hands  come  in  laying  the  rail 
four  other  hands  in  holding  spikes. 
Sledges  land  on  spikes  in  T'nyihmB. 


"lift ILL,  MY  .PADDIES ,  DBILW* 


"IS ILL,  YOU  TERRIERS, 
EACH  TO  sledges  hitting  eplkes  in  time. 


170  SUGAR  IN  YEP. 
BACK  TO  sledces  hitting  ■pikes  in 


FULL  SHOT  OF  (SOUP 
Driving  spikea 


LONG  SHOT 


The  eang  working  in  f .  g.    A  short  distance 
e-way  le  a  rise  of  ground  or  roll  in  the 
prairif-.    About  ten  Indlano  on  their  poniee 
suddenly  appear  over  this  rise  and  riding 
along  on  the  top,  parallel  to  the  track, 
fire  at  the  workmen.     The  work  instantly 
etopa,  the  men  drop  their  tools,  snatch  up 
their  guns,  and  crouching  behind  rails  and 
ties,  return  the  fire.     Keep  this  up  in 
earae  shot  until  Indiana  disappear  behind 
rise  of  ground  again.     The  men  immediately 
put  down  their  puna  and  return  to  work. 


CHOI  OF  INDlAHS 

hiding  away  in  the  distance. 

CLOSE  SHOT  OF  CA1IG  LAYING  IRACK  AND  31  KG  INC  AS  THE*  WQBK. 


LONG  SHOT  OF  BAILS 

Sledges  driving  Bpi 


BACK  TO  eledgee  driving  spikeB; 

"DRILL,   YOU  TERRIERS,  DRILL." 
BACK  TO  sledges  driving  spikes.     FADE  OUT. 


it 


MOTE:  I  would  suggest  that  the  appear 
of  the  Indians  be  as  brief  and  casual 
ie  written  in  this  scene.     Do  not  cut  away 
to  e.ny  shots  of  the  battle.     In  other  word, 
get  over  that  the  rhythm  of  the  work  and 
the  singing  is  never  lost,  even  in  epite  o" 
the  Indians. 


SIX  MOUTHS  PASS  -  AND  111  TltE  WAKE 
OF  THE  ADVANCING  R/.ILS,  HEADQUARTER: 
HAS  JUMPED  FORWARD  TO  HOfiTH  PLATTE. 


^Photographic  reproduction  of  actual  pages  of 
continuity  from  which  the  scenes  in  the  "Iron 
Horse''  shown  on  the  next  pages  were  made. 


man  who  spends  his 
life  searching  for  good 
screen  stories  tells  you 
what  to  write. 


IT  does  seem,  during  the  seven  and  more  years  I  have 
been  scenario  editor  of  one  of  the  greatest  motion  pic- 
ture companies  in  the  world,  that  half  of  the  hundreds 
or  more  millions  of  persons  that  go  to  make  up  the 
population  of  the  United  States  and  Canada  have  attempted 
to  write  a  motion  picture  story.    And  every  one  written, 
at  one  time  or  another,  has  been  submitted  to  me. 

When  I  tell  the  world  that  my  department  handles  each 
day  as  many  as  one  hundred  scripts  written  in  the  English 
language,  the  great  aggregate  for  seven  or  eight  years  can 
easily  be  estimated.  And  when  we  add  the  thousands  of 
other  manuscripts  that  come  from  continental  Europe, 
South  America  and  other  farther  away  parts  of  the  world, 
written  in  foreign  languages,  the  huge  task  of  our  scenario 
department  can  be  imagined.  The  statement  also  illustrates 
and  emphasizes  the  interest  taken  by  the  world-at-large  in 
picture  writing. 

The  good  housewife,  the  bob-haired  flapper,  the  post- 
master of  Jones'  Crossing,  Michigan,  the  callow  youth  in 
high  school,  the  reformed  burglar,  the  Reverend  Mr. 
So-and-So,  the  chastened  street-walker  of  any  big  city — 
men  and  women,  boys  and  girls,  from  everywhere — have 
written  at  one  time  or  another  (or  will,  before  they  die) 
— a  story  intended  to  bring  them  everlasting  fame  and  piles 
of  shekels.  And  that  is  the  reason  for  this  article,  and  why 
the  subject  is  of  sufficient  interest  to  spread  on  paper. 

The  editor  of  Screenland  has  asked  for  this  article.  He 
says:  "Write  me  an  article  concerning  scenarios."  It  is 
some  task  to  attempt,  because  scenarios  "cover  a  multitude 
of  scripts."  Ye  editor  continues:  "When  a  young  hopeful 
sends  a  scenario  to  Fox  Film  Corporation  and  it  is  returned 
to  him,  it  seems  to  him  that  his  ideas  are  not  judged  by 
merit.  If  your  article  could  show  just  what  continuity  is, 
with  what  knowledge  it  has  to  be  handled,  these  writers 
would  realize,  perhaps,  that  the  ideas  they  submitted  were 
not  worthy.  In  that  way  Screenland  would  be  defending 
the  motion  picture  industry  and  at  the  same  time  educating 
its  readers  and  preventing  them  from  exposing  themselves 
to  disappointment." 


22 


We'll  Buy  It " 


To  begin,  let  me  explain,  the  difference  between  the  terms 
scenario  and  continuity.  Nowadays  an  original  story  or  an 
adaptation  of  a  novel  or  play  has  come  to  be  known  as  a 
scenario,  especially  if  it  is  arranged  in  sequences  as  the  direc- 
tor would  shoot  it.  The  continuity,  on  the  other  hand,  is 
the  technically-written  script  from  which  the  director  inva- 
riably works. 

It  is  not  at  all  necessary,  and  the  author  is  not  expected, 
to  write  a  continuity  when  submitting  material.  Let  him 
write  "a  scenario,"  if  he  will — but  it  would  be  better  to 
term  it  "the  story."  So,  reduced  to  single  terms,  we  have 
the  two  elements — the  story  and  the  continuity.  The  author, 
whether  he  has  arrived  or  is  a  would-be,  prepares  the  story. 
And  the  continuity  is  left  to  the  specially  trained  continuity 
writer,  who  is  a  highly  paid  staff  writer. 

Any  one  may  write  a  story  or  a  scenario,  but  few  can 
write  continuity.  Many  try  to  write  continuity;  almost 
always  they  fail,  unless  they  have  had  that  experience  and 
training  which  is  so  essential. 

Continuity  writers — good  ones — are  as  scarce  as  hen's 
teeth.  If  any  one  doubts  this  statement,  let  him  telephone 
the  scenario  department  of 
the  first  picture  producer 
that  comes  to  mind.  Ask 
the  name  and  address  of 
a  continuity  writer — a  reli- 
able sure-fire  continuity 
writer — who  is  at  liberty. 

I  will  come  to  continuity 
writing  presently.  First  I 
want  to  tell  the  world  and 
especially  the  interested 
would-be  picture  writers 
that  the  industry  is  in 
need  of  stories— strong, 
virile,  dramatic  stories,  on 
which  may  be  based  pic- 
ture plays  of  five  reels  or 
more  for  its  men  and  wom- 
en stars.  But  they  must 
be  good. 

The  industry  is  in  need 
of  stories  of  modern  life — 
the  life  of  today  —  with 
modern  settings  and  mod- 
ern characters — which  tell 
a  human  story  in  tense  and 
gripping  action,  leading 
from  strong  situation  to 
strong  situation,  and  cul- 
minating in  a  climax  that 
has  punch  and  snap. 

These  stories  may  em- 
brace a  wide  range  of  sub- 


By  Hamilton  Thompson 


ject  and  theme;  they  may  deal  with  all  classes  of  society 
and  they  may  picture  life  in  the  open,  in  the  crowded  tene- 
ments of  the  poor  or  the  gorgeous  mansions  of  the  rich — ■ 
but  they  must  show  life  as  it  IS  in  these  environments, 
and  not  as  it  exists  in  the  imagination  of  the  dreamer.  This 
is  the  day  of  the  present  and  the  future,  in  which  the  past 
plays  but  a  small  part  other  than  to  make  us  heiirs  of  its 
traditions;  stories  founded  on  a  by-gone  day  and  genera- 
tion must  of  necessity  partake  somewhat  of  the  stilted  and 
artificial  life  and  manners  of  those  times,  and,  therefore, 
have  but  limited  power  to  fasten  and  hold  attention. 

And  these  stories  should  be  peopled  with  characters  who 
live  and  move  and  have  their  being  as  do  normal  men  and 
women  in  real  life — for  the  mimic  life  on  the  screen  must 
be  a  clear  and  truthful  representation  of  actuality.  The 
characters  should  laugh  and  cry,  work  and  play,  love  and 
suffer,  strive  and  struggle,  endure  and  sacrifice,  achieve  and 
conquer — because  these  are  the  things  real  people  are  doing 
in  every  day  life. 

We  must  have  stories  that  are  human  and  real.  They 
must  show  the  play  of  emotions  in  the  human  heart,  the 


C[At  work  on  a  garden  location  making  "A  Thief  in  Paradise";  Doris  Kenyon 
and  Ronald  Colman.   Notice  the  assistant  director  lias  the  looselcaf  continuity, 
while  George  Fitzmaurice  directs  the  love  scene. 


23 


24 


SCREENLAND 


thoughts  that  animate  the  human  brain,  both  expressed 
in  physical  and  mental  action,  and  they  must  provide  a 
sharply  defined  plot — for  there  must  be  the  pivot  about 
which  the  action  revolves,  the  hub  from  which  emanate 
all  the  spokes  of  interest. 

Stories  must  give  action  rather  than  atmosphere,  though 
a  modicum  of  the  latter  is  essential,  but  action  must  not 
be  sacrificed  to  atmosphere,  which  must  always  play  a 
subordinate  part — for  the  screen  has  its  limitations.  What 
conveys  all  things  on  the  stage,  pointed  by  the  glamour 


of  the  spoken  word  and  the  color  of  the  settings,  and  what 
sparkles  in  the  word  painting  of  the  printed  book,  are 
lost  and  become  almost  lifeless  when  shown  in  the  tone- 
less blacks  and  whites  of  the  screen.  It  is  for  this  reason 
the  screen  demands  action  and'  drama. 

William  Fox,  head  of  the  Fox  Film  Corporation,  who 
in  my  humble  opinion  is  the  greatest  picture  producer  in 
the  world,  asks  for  suggestions  and  recommendations  for 
big  dramatic  features  for  the  Fox  Film  Corporation's 
J 925-26  season.    Mr.  Fox  says:    "It  may  be  a  novel  cr 

mmmmstmrnmsmKmoKr    '     r,m  mmyu i  i'u  1 1  nagga 


G[Scene  from 
the  (treat 
Fox  pic- 
ture, "The 
Iron 
Horse." 


Q  Note  how 
closely  this 
scene  fol- 
lows the  di- 
r  e  c  t  ions 
which  were 
thought  out 
by  the  con- 
t  i  n  u  i  t  y 
writer,  and 
which  are 
r  e  produced 
on  page  22. 


SCREENLAND 


25 


a  play,  or  just  an  idea.  If  a  novel  it  must  have  an  unusual 
theme;  if  a  play  it  must  possess  unusual  situations.  Or, 
if  but  an  idea,  it  must  be  original  and  different." 

Please  note  that  Mr.  Fox  mentions  a  novel  or  a  play  as 
hrst  in  importance,  but  he  does  not  overlook  the  idea. 
I  think  we  can  safely  assume  that  Mr.  Fox  considers  the 
novel  and  the  play  the  better  picture  prospect.  Why? 
Because  in  a  play  we  get  dramatic  action  plus  color  and 
atmosphere,  with  the  director's  script  for  detail.     (Note — 


The  director's  play  script  is  analogous  to  the  picture  con- 
tinuity). In  a  book  we  get  dramatic  action  plus  every- 
thing else — and  everything  else  includes  eighty  thousand  or 
more  words  of  descriptive  detail.  "Corroborative  detail 
to  a  bald  and  unconvincing  narrative,"  as  it  were,  but  the 
detail  is  there.  In  short,  plays  and  novels — the  success- 
ful ones,  of  course,  I  mean — are  mines  of  material. 

Mr.  Editor  of  Screenland  and  you,  thousands  of  readers, 
I  think  you  get  what  I  am  "driving  at."  You  can  see 
why  a  play  or  a  novel,  {Continued  on  Page  88) 


He-Man  Hero 

Charles  de  Roche  brings  to  the  Screen  the  virility  of  a  soldier 

By  Anne  Austin 


IN  A  German  prison  cell  just  large  enough  for  the  six 
foot  young  Frenchman  to  stretch  his  length  "cat-a- 
cornered,"  a  certain  Lieutenant  Charles  de  Rochefort 
gripped  Fate  by  her  long  black  hair  and  conquered  her. 
Condemned  to  solitary  confinement  because  he  was  "in- 
corrigible"— he  just  would  try  to  escape! — the  young 
Frenchman  hit  upon  a  plan  by  which  his  frightful  lone- 
liness would  be  turned  to  account,  by  which  his  mind 
would  be  saved  from  insanity  and  his  soul  from  supreme 
bitterness.    He  bribed  his  guard  to  bring  him  secret  con- 


C[He  is  a  young 
F  r  e  ncliman 
iv/io  can  fight. 

26 


signments  of  a  very  hard  wood  from  which  he  could  fash- 
ion a  xylophone.  Day  after  day,  with  only  a  large  steel 
file  as  a  tool,  Charles  de  Rochefort,  a  marquis  in  his  own 
shell-torn  country,  formed  those  bits  of  iron-like  wood  by 
a  mysterious  pattern  of  his  own. 

His  mates  in  misfortune  heard  queer  goings-on  in  that 
cell.  Charles  would  file  and  file  and  file,  until  the  rasping 
wore  his  own  nerves  to  a  bleeding  thread.  Young  Charles 
worked  feverishly,  after  that  mysterious  pattern  of  his  own. 

For  twenty  long  months  he  worked,  and  at 
last  he  looked  upon  his  labors  and  knew 
that  the  result  was  good — perfect.  Charles 
de  Rochefort  had  made,  under  superhuman 
difficulties,  a  perfect  thing,  an  instrument 
whose  sweet  true  tone  gave  the  laugh  to 
dreary  prison  and  to  cruel  fate  alike. 

Of  all  the  musical  instruments  of  which 
he  was  an  expert  player,  only  the  xylophone 
could  be  made  without  metal,  entirely  by 
his  own  hands.   And  he  did  it. 

That  instrument  has  been  his  "pal"  ever 
since;  he  carries  it  with  him  everywhere 
he  goes.  I  heard  him  play  on  it,  and  his 
playing  is  that  of  a  master.  To  me,  the 
instrument  seemed  perfect;  it  was  incred- 
ible that  it  had  been  made  in  semi-dark- 
ness, in  a  narrow  prison  cell,  by  a  single 
pair  of  human  hands;  yes,  but  driving  those 
hands  was  the  indomitable  spirit  of  a 
Frenchman. 

Then,  the   dream  of  twenty  months  a 
reality  before  his  gloating  eyes,  his  self-ap- 
pointed work  done,  confinement  again  irked 
him  unbearably.     Living   conditions  were 
horrible  beyond  the  dreams  of  the  most 
cruel  war  lords.     For  food  there  was  a 
piece  of  hard  black  bread  the  size  of  his 
hand.   For  light  there  was  the  filtered,  reflected  light  from 
a  small  opening  in  the  roof  which  was  almost  covered  over 
by  an  inverted  pan.    For  seven  months  Charles  de  Roche- 
fort never  saw  the  sky.    Of  beds  and  bedding  there  was 
none — not  even  a  wooden  bunk.    Even  on  cold  nights  there 
were  no  blankets,  no  coverings  of  any  kind  for  his  body 
except  his  prison  clothes. 

"How  did  you  stand  it?"  The  question  was  inevitable, 
shocked,  incredulous. 

"I  can  stand  anything,"  Charles  de  Rochefort,  known  to 
American  screen  fans  as  Charles  de  Roche,  struck  his  broad 
hard  chest  with  his  clenched  fist.  He  is  given  to  gestures, 
this  gigantic  young  man  who  came  from  France  to  begin 
a'll  over  again  in  America.    Since  his  English  is  far  from 


fluent,  his  gestures  are  often  necessary 
to  complete  the  meaning  of  his  halting 
words. 

"Nothing  can  get  me  down  and  keep 
me  down!"  Charles  de  Roche  said 
grimly.  "They  could  not  even  keep 
me  in  a  German  prison  when  I  had 
made  up  my  mind  to  get  out. 

"I  had  studied  medicine" — and  I 
wondered  if  there  was  anything  this 
Frenchman  who 
could  not  be  kept 
down  had  ever 
failed  to  study! — 
"when  my  par- 
ents were  trying  to 
divert  my  mind 
from  the  stage,  to 
which  I  announced 
my  intention  of 
devoting  myself  at 

the  age  of  ten.  I  had  studied  psychol- 
ogy; psychopathology.  I  knew  the 
symptoms  of  mental  derangement.  In 
other  words,  I  knew  how  a  crazy  man 
would  act.  And  I  was  an  actor  by  pro- 
fession. It  was  not  easy,  but  I  con- 
vinced nine  German  alienists  that  I  was 
insane,  violently  crazy.  Enough!  I 
convinced  those  wise  doctors  and  they 
sent  me  to  Switzerland,  which  was 
neutral  country,  you  know." 

De  Roche  came  out  of  the  war  with 
a  croix  de  guerre,  numerous  citations 
and  as  many  other  honors  as  his  broad 
coat  could  accommodate. 

A  BELIEVER  IN  DESTINY 

Just  one  word  more  about  his  par- 
ticipation in  the  war.  He  would  not 
have  been  called  upon  to  fight,  for  he  has  an 
injured  right  arm  which  can  never  be  strong  be- 
cause of  a  fracture  sustained  when  he  saved  his 
sister  from  death  in  a  runaway  when  he  was  only 
ten  years  old.  But  he  wanted  to  fight,  and  he  did. 
He  wanted  a  xylophone,  and  he  made  it.  He  wanted  free- 
dom and  he  got  it.  He  wanted  to  act,  and  he  became  an 
actor,  in  spite  of  the  fact  that  to  do  so  he  had  to  renounce 
his  right  to  his  title,  an  ancient  and  honorable  one;  he  had 
to  suffer  banishment  from  his  home,  the  unforgiving  dis- 
pleasure of  his  titled  mother,  and  the  social  ostracism  with 
which  France  rewards  her  actors. 

"I  am  not  sorry,  not  for  a  single,  little  minute,"  de 
Roche  told  me  almost  violently.  "We  are  given  life  for 
a  purpose.  We  must  fulfill  our  destiny.  It  was  my  destiny 
to  be  an  actor  in  this  life,  and  an  actor  I  am.  I  could  not 
be  otherwise,  for  all  the  titles  in  France  or  all  the  money 
in  the  United  States  treasury." 

Charles  de  Rochefort  became  one  of  the  leading  legiti- 
mate actors  in  France,  and  even  during  the  actual  infancy 
of  the  motion  picture  art  he  became  a  screen  actor.  Be- 
fore there  was  a  Pickford  or  a  Gish,  before  even  we  spoke 
of  "the  Biograph  girl,"  there  was  a  Charles  de  Rochefort 


Gloria  Sixanson's 
a  d  i  n  g 


leading  man  in 
"Madame  Sans  Gene," 
Charles  de  Roche  will 
at  last  stand  unchal- 
lenged upon  hard-ivon 
heights. 


making  motion  pictures  in  France.  He  began  twenty  years 
ago,  and  he  has  had  his  finger  in  every  pie  that  is  baked 
in  the  oven  of  the  motion  picture  industry.  He  has  directed, 
he  has  written  scripts,  he  has  been  a  technical  expert,  cam- 
eraman, and,  first  and  above  all  and  last  and  forever,  he 
has  been  a  motion  picture  actor. 

But  like  other  European  artists  of  the  screen  d-e  Roche- 
fort turned  his  eyes  toward  America,  or  rather,  he  had 
them  turned  westward  by  Jesse  Laske,  who,  on  one  of  his 
periodical  trips  to  the  Continent  in  search  of  talent,  saw 
the  handsome  young  giant,  was  convinced  of  his  ability, 
and  asked  him  to  sign  on  the  dotted  line. 

De  Roche  came  to  America,  thrilled  to  the  last  drop  of 
his  emotional  French  blood,  at  the  opportunity  which  the 
Land  of  the  Free  offered  him.  And  he  found  himself — 
Charles  de  Rochefort,  most  popular  male  motion  picture 
star  in  France — press  agented  as  the  successor  to  Rudolph 
Valentino!  It  was  a  bitter  pill,  but  even  more  bitter  to 
the  French  immigrant  was  the       (Conthiued  on  Page  So) 


27 


o£ife 


AMONG  the 
^EAUTIES 

OMEWHERE  I  collected  the  notion  that  the 
laugh-digging  business  so  profitably  followed 
by  Mack  Sennett  and  Hal  E.  Roach  was  just 
one  long  prank. 

I  imagined  that  the  day's  work  on 
each  comedy  lot  began  with  every 
one  rallying   'round   the   boss  and 
laughing  lustily  at  one  of  his  gags  to 
start  the  revelry  and  the 
unreeling  of  laugh-lines  by 
the  wise-crackers,  the  gag- 
men. 

But  life,  alas,  is  nothing 
but  vain  imaginings. 

Being  in  need  of  a  laugh 
I  decided  to  imbibe  a 
chuckle  or  so  as  dished  up 
by  the  heads  of  the  leading 
canned  chuckle  factories. 


d  Charlie  Chase  and 
Hal  Roach's  baby 
stars.  Charlie  says 
he  is  funny  hut  no- 
body looks  at  him 
to  find  out. 


^  Left  to  right:  Martha  Sleeper,  Katherine  Grant,  Jack  Jungmeyer,  Ena  Gregory,  Olive  Borden, 
H.  B.  K.  Willis,  Lotus  Thompson,  Marie  Mosguini  and  Blanche  Mehaffey.  You  can  pick  out 
the  author  by  the  dizzy  expression. 


28 


What  a  So-called  Wit 
finds  on  a  So-called 
Comedy  Lot 

By  H.  B.  K. 

As  Hal  Roach  has  always  given  the  impression  of  being 
a  congenial  soul  his  lot  was  first  selected  for  invasion  so 
that  the  fans  every  which  way  from  Hollywood  might  know 
how  the  titter-teasers  live,  work  and  have  their  being. 

The  Roach  lot  is  located  in  a  suburb  of  Hollywood,  out 
of  the  high  rent  district,  so  to  speak.  It  has  the  charming 
exterior  of  a  girl's  school  and  is  renowned  for  the  beauty 
of  its  indigenous  feminity. 

Its  pulchritudinous  bevy  of  eight  slim  young 
things  includes  Olive  Borden.  Marie  Mosquini, 
Lotus  Thompson,  Martha 
Sleeper,  Katherine  Grant, 
Blanche  Mehaffey,  Ena  Greg- 
ory and  Beth  Darlington,  all 
of  whom  are  as  beautiful  as 
they  are  brave. 

Yes,  they  even  invited  ap- 
praisal, did  these  Hal  E.  Roach 
"baby"  stars,  with  a 


regular  luncheon  invi- 
tation to  a  simple  one 
fork  meal.  The  food 
was  adequate  and  the 
girls  superb,  so  the 
only  thing  I  swal- 
lowed during  the  en- 
tire meal  was  my 
Adam's  apple. 

This  young  Borden 
person  has  a  pair  of 
big,  black,  200  candle- 
power  glims.  A 
dance  from  her  makes 
every  male  within 
eye-shot  conscious  of 
his  hands  and  feet  as 
he  immediately  feels 
the  urge  to  become 
protective.  Her  fig- 
ure— well,  her  figure 
doesn't  lie  even  if  it 
does  make  some  of 
the  big  movie  twink- 
lers  jealous. 

Marie  Mosquini,  a 
60  horse-power  brun- 
ette, has  that  old 
;ome-hither  in  her 
eye  and  a  slow,  de- 
spoiling smile  which 
probably  accounts  for 
the  fact  that  she  has 


Q  Ben  Turpin  doing  an 
anaesthetic  dance  with 
Lois  Boyd.  Ether  one  is 
r/ood.  Ben  docs  his 
stuff  over  arid  over  be- 
fore they  "take"  it,  and 
d  u  r  i  n  c/  the  entire 
sfruciyle  Mack  Scnnctt 
never  smiles. 


CI  It  is  a  tradition  that 
the  bathinc/  beauties 
become  bid  stars,  and 
this  has  made  the  girls 
of  the  comedy  lois 
looked  upon  vuith  re- 
spect, instead  of  just 
looked  upon. 


t  0 


been  selected 
(  Continued  on 

Page  79) 


^JVLarie  %JM.osquini 


29 


QWhy  Barbara  La  Marr  is  one 
of  the  best  loved  and  most  popu- 
lar of  all  the  girls  of  the  screen. 


By  Kegma  Cannon 


(\Among  the  players  Barbara 
La  Marr  is  known  as  "Easy 
Bobbie." 


I  PEAKING  of  Barbara  La  Marr.  We  were  going  to  tea 
at  the  Plaza,  and  I  was  going  to  get  a  "story"  from 
her  on  her  new  picture,  "The  Second  Chance."  But 
while  I  waited  for  her  I  was  wondering  what  I  could 
do  her  for.  She  ought  to  be  good  at  least  for  a  sable  wrap 
or  a  diamond  wrist  watch. 

"I  guess  I'll  take  the  wrap,"  I  cogitated  as  Barbara 
finally  made  her  appearance  and  we  started  for  the  street. 

"What's  that?"  she  queried  uncomprehendingly.  Then, 
of  course,  I  had  to  tell  her  the  reputation  she  has  of  being 
"easy." 

"Yes,  that's  all  true,"  she  admitted,  as  we  started  to  walk 
to  the  Plaza,  "but  I've  changed  since  then.  You  bet  I  have. 
Why  now,  I'm  as  hard-boiled  as  ." 

Barbara  stopped  abruptly  and  began  to  open  her  purse. 

"Oh,  look  at  that  poor  man,"  she  said,  her  voice  tremu- 
lous with  pity.    "He's  blind." 

And  before  I  had  time  to  reply  she  had  dropped  a  five 
dollar  bill  into  the  extended  hat  of  the  beggar  huddled  in 
the  shadow  of  a  doorway. 

"Yes.  you're  hard-boiled,  I  can  see  that,"  I  laughed. 

"Well,  I  don't  care,"  she  defended,  "that  was  different. 
Gee,  I'm  human.  What  I  mean  is,  I'm  not  going  to  waste 
sympathy  on  people  who  don't  need  it." 

We  had  reached  the  corner.  Barbara's  eyes  lit  upon  a 
ragged  urchin  kneeling  on  the  sidewalk.  Vainly  he  was 
trying  to  salvage  the  contents  of  a  broken  bottle.  It  proved 
to  be  shoe  polish. 

As  we  came  up  to  him  the  bootblack  looked  up,  his  big 
dark  eyes  wet  .with  tears.  Barbara  stopped.  Again  her 
hand  sought  her  purse. 

"Remember,  you're  hard-boiled,"  I  reminded  sotto  voce. 
She  looked  at  me  apologetically. 

"Well,  this  is  different,"  she  defended,  "I'm  human." 

I  didn't  see  the  denomination  of  the  bill  she  thrust  into 
the  boy's  hand,  but  the  look  on  his  face  was  as  happy  as  if 
some  one  had  handed  him  a  grandstand  ticket  to  the  ball 
game. 

I  began  to  get  nervous.  Tea  at  the  Plaza  is  no  free  lunch, 
and  we  still  had  several  blocks  to  go.  I  decided  to  curb 
my  appetite.  Arithmetic  was  never  my  long  suit,  but  I 
could  figure  that  at  five  dollars  a  block  . 

"Better  take  a  taxi,"  I  suggested.  (Continued  on  Page  80 


30 


©What 


an  ASSISTANT 
HINKS  About 


G["A//  the  blame  and  none  of  the 
glory"  is  his,  but  at  that  it  is  fun 


I HAD  met  her — the  Sweet  Young  Thing— just  a  moment  before.  We  had 
agreed  not  to  dance — the  suggestion  was  hers.  Perhaps  she  had  noticed 
my  dancing  earlier  in  the  evening.    I  can't  say  as  to  that. 

Anyhow,  conversation  had  fallen  flat.    I  saw  her  hunting  for  something 
to  say  next.    Finally  it  came.    She  exclaimed  brightly: 
"And  what  do  you  do,  Mr. — er  ?" 

"Oh,  I'm  in  the  movies,"  I  said.  Then,  more  hopefully:  'Tsn't  that  your  next 
partner  looking  for  you?" 

I  never  realized  before  the  power  of  that  magical  phrase:  '"the  movies."  She 
clasped  her  hands  and  gazed  at  me  with  round  eyes,  in  which  I  saw  enthusiasm 
and  awe  struggling  with  doubt. 


(\A  s  s  i  stant 
Dire  ctor 
Hickok,  the 
author  of 
this  article, 
pointing  out 
to  his  chief, 
Tom  Terris, 
a  "location" 
at  Cordoba, 
Spain.  Mr. 
Terris  does 
not  seem 
very  enthu- 
siastic. 


CI  Rencc  Ado- 
ree,  Director 
Tom  Terris 
and  staff, 
i  n  c  lading 
the  author, 
iiavj  lun- 
cheon in  the 
mouth  of  a 
cave  in 
Cuba  to  es- 
cape the 
b  I  i  s't  cring 
rays  of  the 
sun.  The 
general  idea 
is  that  if 
the  Assist- 
ant Director 
had  been  all 
that  he 
should  have 
been,  it 
would  not 
have  been  so 
hot. 


32 


director/l; 


By  Rodney  Hfckok 


ClRodney  Hic- 
kok,  Assistant 
Director. 


C[The  great  bull  fight  scene. 


^Preparing  to  shoot  a  scene  in  "The  Bandolero" 
in  Spain.  The  horsemen  were  actually  cavalry 
from  the  Spanish  Army.  It  was  the  pleasant 
duty  of  the  Assistant  Director  to  secure  food 
for  them  unexpectedly. 


"Not  really!"  she  burbled.  "How  perfectly  wonderful: 
No;  never  mind  my  partner;  he  can  wait.  But  tell  me 
more  about  it;  And  you — but  of  course  you're  not  the 
hero!    I  know — you're  the  villain — you  must  be  a  perfectly 

marvelous  villain!    But  please  tell  me  " 

"Oh,  I  don't  mean  I  act  in  them,''  I  added  rather  hastily 
"I  only  " 

In  one  instant  her  enthusiasm  dropped  thirty  degrees. 
She  looked  at  me  reproachfully,  as  if  to  say,  "I  knew  there 
was  a  catch  in  it  somewhere!"  But  she  was  game.  She 
went  right  on  with  her  questions. 

"You  don't  act?  Well,  what  in  the  world  do  you  do. 
then?" 

Most  people.  I've  noticed,  seem  to  think  that  a  motion- 
picture  just  grows.   They  see  their  favorite  players  in  thrill- 
ing situations,  laughing,  weep- 

GlThe     morning     before  jng,  making  love,  fighting,  talk- 

•when  the  bull  ring  was  mg.    Of  course,  you  can't  hear 

used  for  scenes.   It  will  what  they  say — but  it's  on  the 

be  seen  that  the  assist-  =  rrppr>  anrl  if  >*  j 

....       .  -creeii — ana  ii  vou  cant  read 

ant   directors    have    no  ■  '"u' 

feat,  they  know  what  50me  one  behind  you  always 

they  can  throw.  ■        (Continued  on  Page  80 "i 


GlMiss  June  Cole- 
man, Atlanta, 
Ga.  We  have 
heard  Atlanta  on 
our  radio,  but  iue 
didn't  knon'  it 
looked  like  this. 
After  this  <we 
ivill  pay  better 
attention. 


INNERS  in  th 

Here  they  are — the  most  beautiful  and 
shapely  girls  that  ever  put  on  a  bathing 
suit.  Mack  Bennett's  "worries  are  at  an 
end.  The  supply  ofBeauty  is  not  run- 
ning out,  it  is  not  even  running  in.  but 
perhaps  they  ivere  afraid  the  suits 
might  shrink. 


C[Miss  Fannie  McCleary,  Hutchinson,  Kan.  They 
certainly  do  things  in  good  shape  in  Hutchinson. 


<\Miss  Ella  Habel,  Tacoma, 
Wash.  In  order  to  get  her  to 
pose  the  photographer  had  to 
chase  her  half-ivay  up  the 
side  of  the  bam. 


Q.Miss  Erin  O'Neill,  Memphis, 
Tenn.,  is  sitting  on  the  piano 
stool  all  ready  to  play  "Way 
Down  Upon  the  Swanee 
River." 


CLMiss  Ruth  T.  Goldy,  Wash- 
ington, D.  C.  They  evidently 
liave  a  Sennett  in  W  ashingion. 


EAUTY 


ONTEST 


•W hen  these  photographs  were  shown  to 
sir.  Sennett  he  sat  right  doivn  and  made 
at  a  contract  for  one  of  these  girls. 
Full  details  on  Page  92. 


Q.M  i  s  s  Margrctta 
Thompson,  Fort 
Worth,  Texas.  She 
may  he  a  bathing 
beauty,  but  you 
notice  she  toes  the 
mark. 


(\Miss  Louise  Becker,  Pittsburg,  Pa.    Sitting  pretty  with- 
out an  effort.      That's  Pittsburg  right  back  of  her. 


QMiss    Eileen  Hill,  Ottawa, 

Ont.,    Can.  Now  wj  know 

ivky  certain  parties  skip  to 
Canada. 


QMijs  Marjorie  Androus,  Los 
Angeles,  Cal.  She  must  hai'e 
wandered  off  some  Hollywood 
lot. 


GiMiss  Grace  Kcmlley,  Chat- 
ham, Ont.,  Can.  On  the  roof 
of  the  taxicab, — pardon — 
powerboat,  for  which  she  sup- 
plies 125  pounds  of  beauty  as 
ballast. 


QHelen  Lee  Worthing,  formerly  a  Follies  Girl, 
nouj  comes  into  her  own  in  "The  Swan,"  a 
Paramount  picture. 

36 


Worthing 

OtThe  story  oj  a  little  girl  who 
grew  beautiful  and  made  her 
loveliness  serve  her  ambition 

By  Esther  Willman 

I KNEW  her  when  she  was  a  small  town  girl  in  Eliza- 
bethtown,  Kentucky — I  knew  her  when  she  wore  a 
gingham  dress,  and  a  large  plaid  bow  at  the  end  of  a 
braid  of  taffy-colored  hair. 
She  lived  in  a  red  and  white  colonial  house  on  Main 
Street.     It  belonged  to  her  grandparents.     Her  mother 
had  died;  her  father  had  re-married,  and  the  lady  did  not 
like  children.    So  Helen  lived  with  "grandma." 

Her  grandfather  was  a  wealthy  retired  farmer.  In  the 
summer  Helen  lived  on  the  big  farm,  which  she  loved 
more  than  anything.  Many  and  many  a  day  she  rode  for 
miles,  sitting  behind  her  grandfather  on  horseback,  while 
he  inspected  the  green  tobacco  leaves  cut  and  hung  on 
rafters,  later  to  be  hung  in  the  big  red  barns  to  dry.  At 
harvest  time  he  took  her  in  the  "road  wagon"  to  see  the 
wheat  cut,  stacked,  and  later  threshed. 

She  heard  interesting  tales  during  her  childhood  days 
of  the  big  city  called  New  York,  but  her  only  venture 
north  and  toward  the  Mason-Dixon  line  had  been  to  visit 
Louisville,  her  birth  place.  There  with  her  grandmother 
she  shopped  for  the  latest  thing  from  New  York  for  little 
girls.  Once  she  bought  a  leghorn  hat  topped  with  lots  of 
flowers.  She  was  proud  as  could  be  of  it,  but  when  she 
got  it  home  to  Elizabethtown  it  was  packed  away  in  tissue 
paper  by  her  grandmother,  to  come  out  only  on  Sunday  for 
its  journey  to  church. 

It  was  her  grandfather's  wish  to  have  Helen's  portrait 
painted  in  that  leghorn  hat.  "We'll  call  the  picture  'The 
girl  in  the  Leghorn  Hat,'  "  said  little  Helen.  But  her  grand- 
father died  suddenly,  and  the  picture  was  not  painted. 
Helen  is  now  having  her  portrait  done,  however,  by  the 
famous  English  artist,  Harrington  Mann — and  she  wears  a 
leghorn  hat. 

Helen  was  a  beautiful  child  with  the  most  perfect  skin 
and  hair.  People  stopped  in  the  street  to  admire  her,  and 
embarrassed  her  with  their  frank  glances.  She  was  always 
most  modest  and  disliked  being  called  pretty.  Even  today 
when  photographs  of  her  have  gone  all  over  the  world  and 
she  has  been  hailed  as  a  beauty  by  artists  and  even  by  the 
infallible  Ziegfeld,  she  laughs  heartily  and  tells  me  that  it  is 
a  great  disadvantage  and  handicap.  For  when  she  meets 
people  for  the  first  time  she  is  conscious  that  they  are  ex- 
pecting something  really  marvelous — and  she  is  awfully 
afraid  she  doesn't  come  up  to  expectations.  She's  posi- 
tively childish  in  her  modesty! 

As  a  child  she  was  always  attracted  by  jewels  and  per- 
fume. One  day  when  she  was  walking  with  her  mother,  a 
lady  stopped  her,  exclaiming,  "What  a  beautiful  child!" 
The  praise  meant  nothing  in  Helen's  life,  and  she  said, 
"Please,  may  I  try  on  your  ruby  ring?"  After  she  had 
admired  and  returned  it  Helen  embarrassed  her  mother  by 
saying  to  the  lady,  "My,  but  you  smell  nice!" 

I  remember  once  that  Helen  wished  to  have  her  picture 


A  beauty  from  Kentucky 


taken.  She  was 
only  ten  or 
twelve  but  was 
very  fond  of  a 
young  gentleman 
about  thirteen 
years  old  who 
was  preparing  to 
go  off  to  the 
K.M.A.  (Ken- 
tucky Military 
Academy).  She 
wished  to  give 
him  her  picture 
to  take  away 
with  him.  Many 
pictures  were 
made  but  none 
pleased  her.  And 
then  one  day 
she  disappeared, 
and  with  her  her 
mother's  rings. 
Detectives  and 
the  police  were 

sent  for.  Every  one  was  in  search  of 
Helen.  Finally  some  one  was  found 
who  had  seen  her  entering  a  photog- 
rapher's. There  they  found  her  pos- 
ing— with  her  mother's  hat,  her  mother's 
squirrel  neck  piece,  an  old  pair 
of  worn  gloves,  and  her  mother's 
rings  decorating  every  finger. 

At  her  grandfather's  death,  the 
farm  and  the  red  and  white  house 
on  Main  Street  were  sold.  Soon 
after  this  her  grandmother  died 
and — Helen  was  sent  to  Nazareth 
Academy  at  Bardstown,  Ken- 
tucky, one  of  the  most  famous 
convents  in  the  south.  There 
she  learned  to  play  the  pipe  organ 
and  piano  and  to  sing.  (She  had 
one  of  the  sweetest  of  voices.) 
She  remained  there  for  four 
happy  years,  and  then  came  to 
live  in  the  big  house  in  Boston, 
with  her  father  and  the  lady  who 
was  her  new  mother. 

Life  didn't  seem  to  go  so  well  in 
Boston,  and  one  day  Helen  took  a  train 
for  New  York.   It  was  her  ambition  to 


(\Miss  Worthing  with  the 
master  satyr  of  the  screen, 
Adolphe  Menjou. 


Cl.-Hn  old  picture  of  Miss 
Worthing.  Her  early  yearn- 
ings to  "act"  led  her  to 
dress  up  and  hane  her  picture 
taken. 


be  self-support- 
ing and  indepen- 
dent. 

The  ne*xt  day 
she  sat  in  the  of- 
fices of  Florenz 
Ziegfeld.  "No, 
she  could  not  see 
Mr.  Ziegfeld — he- 
Was  in  Palm 
Beach,"  said  the 
secretary. 

Once  again 
down  on  Forty- 
second  Street  she 
stopped  to  look 
at  the  pictures 
of  the  beautiful 
Follies'  girls  dis- 
played  in  front 
of    the  theatre. 
She    only  "had 
fifty  dollars.  She 
knew  she  had  to 
d  o  something 
and  do  it  quickly.     She  had  won  a 
beauty  contest  in  Boston,  and  had  been 
acclaimed  Boston's  most  beautiful  girl. 
A  famous  New  York  artist  had  been 
one  of  the  judges — his  name  was 
known  all  over  the  world.  She 
was  sure  that  he  would  remember 
her,  and  so  Helen  telephoned  him 
for  advice. 

"Come  right  up."  he  said. 
There  in  his  studio  she  met 
John  Murray  Anderson.  Mr. 
Anderson  was  producing  a  new- 
play,  called  "What's  In  A  Name." 
She  was  just  the  girl  he  wanted 
for  a  part,  he  told  her,  just  the 
girl  to  be  the  shepherdess  and  to 
stand  on  top  of  the  Music  Box 
in  the  number  called  "A  Young 
Man's  Fancy." 

Mr.    Ziegfeld    came    to  see 
"What's  In  A  Name."    He  saw 
Helen  in  all  her  glory,  revolving 
on  top  of  the  Music  Box.    He  looked 
at  his  program,  remembered  the  name, 
sent  a  tele-  (Continued  on  page  SO) 

37 


crecnplay 

Reviewed  Bj/  Delight  Evans 


'Best  'Pictures  of  the  ..Month: 

Forbidden  Paradise  Classmates 

"Best  'Performances ; 

P'!Forbidgde„  Pldtd"lphe    Me",0U  'W  ^  G-<  >»  "The  S„ent  Accuser  » 

Victor  McLaglen  in  "The  Beloved  B 


rute. 


Pauline  Frederick  in  "Married  Flirts. 


•"•H®»l®f-«~- 


"H 


E  Who  Gets  Slapped"  has  been  called  the 
perfect  motion  picture.  It  has  been  called 
_  the  perfect  motion  picture  by  a  distant  rela- 
tive of  the  company  which  made  it.  Aside 
from  the  fact  that  there  isn't,  hasn't  been  and  never  will 
be  such  a  thing  as  a  perfect  motion  picture,  I  agree  with 
him. 

Who  wants  to  see  a  perfect  motion  picture,  anyway? 


I'm  sure  I  don't.  But  I  see  what  the  gentleman  meant 
when  he  called  "He  Who  Gets  Rapped-I  Mean  Slapped'' 

I licit . 

Remember  how  you  hated  the  little  girl  in  school  who 
always  got  "A"  in  everything,  from  deportment  to  paint- 
ing?    He  Who  Gets  Slapped"  is  a  regular  teacher's  pet 
of  a  picture.    Every  one  threw  their  hats  in  the  air  over  it 
Critics  were  obliged  to  remove  their  glasses  to  wipe  the 


<\John  Gilbert  and  Norma 
Shearer  in  "He  Who  Gets 
Slapped." 


Q."  Norma  Shearer,  lovely 
nymph,  as  coy  -kissee  to  John 
Gilbert — an  exquisite  bit." 


38 


moisture  therefrom.  And  peo- 
ple, lots  of  'em,  paid  to  stand 
in  line  to  get  in  to  see  it. 
Probably  as  nearly  the  perfect 
motion    picture    as  possible. 

There  isn't  a  single  thing  wrong  with  it.  The  scenario, 
direction  and  acting  are  equally  accomplished.  It  runs 
along  as  smoothly  as  Rudie's  new  French  motor.  No 
flaws,  you  know.  No  delightful  little  imperfections  to 
make  you  feel  at  home.  "Perfect."  And  I  don't  like  them 
that  way. 

"He"  has,  technically,  the  last  word.    The  director,  Vic- 
tor Seastrom,  has  been  painstaking,  clever  and  sincere. 
But  in  his  laudable  anxiety  to  achieve  perfection  he  be- 
comes positively  obvious  about  it. 
His  work   reminded  me   of  the 
librettos  of  operas.    It  was  just 
as  if  a  diagram  of  the  picture 
had  been  handed  to  you 
along  with  your  program. 
Leonid  Andreyev's  story 
is    very    moving  and 
beautiful.     I  saw 
the  play  as  pro- 
duced by  the  Thea- 
tre Guild  and  its 
flavor    lasted.  I 
could  have  forgot- 
ten "He"  in  cellu- 
loid  five  minutes 
after  I'd  seen  it  in 
the  projection 
room  if  I  had  not 


Q.Rod  la  Rocque  and  Pola  Negri  in  "Forbidden 
Paradise.''  "Pola  in  this  frolicsome  farce  is  both 
gay  and  defiant,  and  the  result  is  charming." 


determined  to  see  it  again,  in 
a   theatre,   with   music,  with 
lights,     with  "atmosphere." 
They  are  telling  you  all  the 
time,  you  know,  that  any  opin- 
ion formed  in  a  stuffy,  sordid  projection  room  can't  be 
counted  on,  because  of  the  lack  of  setting,  of  emotional 
accompaniment.    Even  with  incense,  "He"— well,  hee-hee! 

There  are  what  they  call  moments.  But  not  the  "big 
moments,"  the  little  ones,  enthralled  me.  The  brief  bit  in 
the  wood— with  Norma  Shearer,  lovely  nymph,  as  coy 
kissee  to  Jack  Gilbert — that  was  exquisite.  But  other 
scenes  were  painted  with  a  heavy  paw.  Especially,  as  far 
as  I'm  concerned,  those  involving  HE,  himself. 

Lon  Chaney  is  universally  ac- 
claimed one  of  our  great  actors. 
Who  am  I  to  raise  my  feeble 
treble  against  the  cheers  for  this 
combination  Booth-Sal- 
vini-Barrymore  of  the 
screen?  Chorus  of 
"Who,  indeed?"  Just 
the  same  it  seems 
to  me,  and  I'll  say 
it  even  if  my  fan 
mail  drops  off  ten 
per  cent,  which 
would  bring  my 
average  down  to  a 
postcard,  good  old 
Lon  doesn't  act  a 
part  so  much  as 
he  worries  it.  He 


Q.Dick  Barthclmess  and  Madt/e 
Evans  in  "Classmates.''  "Helps 
to  glorify  the  American  Boy." 


39 


°L|Z"ar<  J*?lmes>,  Victor  McLaglen  and  Marquerite  De  La  Molte  in  "The 
Beloved  Brute.       Here  is  one  of  the  newer  and  feiver  westerns." 


reminds  me  of  a  mastiff  with  a  big  choice  bone.  "He"  is 
the  role  of  a  lifetime,  and  I  shudder  to  think  of  the 
things  he  did  to  it.  He  played  "He"  as  if  he  expected 
never  to  act  again,  and  determined  to  make  the  most 
of  the  opportunities  "He"  offered.  Say,  what  are  we  talk- 
ing about,  anyway? 

Seastrom,  Chaney,  Tully  Marshall  and  Marc  McDer- 
mott  (as  the  willuns  of  the  piece— and  how  they  do  mar^ 
shall  and  mcdermott,  to  be  sure!)  and  the  lion  who  is 
written  in  to  provide  the  real  roar  of  the  picture— they 
must  all  have  put  their  heads  together  and  decided  to  be 
as  sombre  or  sinister  as  possible  on  their  salaries.  The 
lion,  by  the  way,  bears  a  striking  resemblance  to  the 
dear  old  fellow  who  used  to  introduce  you  to  Goldwyn 
Pictures.  The  passing  years  have  dealt  kindly  with  him- 
his  mane  is  as 
gorgeous  as 
ever.  He  must 
keep  it  in  moth- 
balls. 

Norma  Shear- 
er supplies  the 
feminine  touch 
as  delicately  as 
she  always  does. 
She's  a  vision  in 
her  billowy  bal- 
let skirts,  and  is 

one  of  the  few  ^  „  ^ 

actresses  T  haw  *ABetty  Compson  and  Adolphe  Menjou 

actresses  i  nave  vhtn  the  ne<liected  hushand  ushers  in 

40 


seen  who  can  wear  them  without  taking  on  the  general 
outlines  of  an  animated  balloon. 

There  is  a  circus  in  "He  Who  Gets  Slapped,"  but  I 
couldn't  smell  the  sawdust.  I  guess  that's  my  grudge 
against  the  picture. 

VERBOTEN  HEAVEN 

Heigh-ho  and  a  nonny-oh,  as  Dorothy  Vernon,  our  old 
girl  friend,  used  to  say.  After  watching  a  lion  cut 
up  didoes  with  the  props  and  the  plot  of  a  Russian  tragedy 
I  hopped  into  my  droshky  and — er — stepped  over  to  see 
what  Pola  Negri  was  doing  with  another  sample  of  Slavia 
literature.  And  I  don't  mind  admitting  I  prefer  Pola's 
particular  vodka  to  Lon's. 

"Forbid- 
den  Paradise  ' 
is  "The  Czar- 
ina" gowned  by 
Poiret.  Good 
eld  Catherine 
the  Great,  the 
original  heroine, 
would  chuckle 
over  the  1925 
version  of  the 
weighty  state 
problems      o  f 

in  "The  Fast  Set."    "The  hick  comes  "T  h  e  sweet 

a  street-ivalker."  mama   of  all 


the  Russias."  Brought  up  to  date  this  comedy  becomes 
even  more  adaptable  to  the  camera's  requirements.  The 
dressmaker  performed  the  only  alterations. 

Pola  as  the  great-hearted  queen  with 
a  penchant  for  pulchritudinous  officers, 
forgets,  for  the  first  time,  Hollywood 
manners  and  emotions  and  steps  right 
back  to  Europe.  She  isn't  quite  the 
Pola  of  "Passion,"  but  then  she'll 
never  be  the  Pola  of  "Passion"  again. 
This  Pola  is  almost  as  good — or  as 
naughty,  whichever  you  prefer.  The 
eyes,  once  more,  have  it.  Anna  Held 
just  couldn't  make  hers  behave.  Pola 
can,  in  an  emergency;  but  usually  she 
doesn't  even  try.  And  nobody  in  the 
audience  wants  her  to. 

I  never  saw  a  queen  outside  of  the 
news-reels;  and  I  won't  judge  them  by 
that  because  they're  always  carrying 
umbrellas,  and  who  can  be  regal  with 
an  umbrella?  So  I  don't  know  if 
Pola  is  every  inch  a  queen  or  not.  But 
she  suits  me.  She  plays  this  frolic- 
some farce  in  a  gay  and  defiant  mood, 
and  the  result  is  charming. 

As  the  lord  chamberlain  of  her 
mythical  kingdom,  he  to  whom  her  af- 
fairs— of  state,  and — er — not — are  as 
an  open  newspaper  headline,  Adolphe 
Menjou  is — well,  write  your  own  ad- 
jectives.   The  only  one  I  can  think 


GlFlorence  Vidor  in  "Husbands 
and  Lovers."  "But  I  would 
like  to  see  a  little  sense  of 
humor  running  around  the 
house  for  a  change." 


of  which  fits  is  priceless;  and  even  Mr.  Menjou  acts  on 
salary. 

Cecil  de  Mille,  most  of  you,  and,  it  is  rumored,  Miss 
Negri  herself,  applaud  Rod  la  Rocque. 
So  that's  all  that's  necessary,  isn't  it?J 
But — if  it  hadn't  been  for  Rod — this 
picture  would  have  been  heaven  for 
this  reviewer.  As  it  is,  the  title  fits. 

"SO  WE'LL  RALLY  'ROUND  THE 
FLAG,  BOYS  " 


Dick  Barthelmess  isn't  thinking  of 
setting  himself  up  as  a  rival  to 
Georgie  Cohan  as  chief  supporter  of 
the  American  flag,  or  anything  like 
that.  But  he  helps  to  glorify  the 
American  boy  in  his  new  picture. 
"Classmates." 

One  or  the  other,  or  both,  of  the 
de  Mille  brothers  wrote  it  a  long  time 
ago — or  maybe  it  was  their  father. 
Anyway  the  play  is  rich  in  tradition. 
In  fact,  it  fairly  drips  with  it.  It  re- 
mained for  Dick  to  brush  up  its  beard, 
being  careful  to  curl  it  at  the  corners 
— evidently  he  saw  Pola's  picture, 
which  advocates  upturned  mustachios 
for  men.  Consequently,  "Classmates," 
having  submitted  to  the  Barthelmess 
method  of  rejuvenation,  emerges  very 
good  entertainment. 


41 


Well,  if  you're  human  you'll  like  it. 
There  isn't  a  boy  who  has  not,  in 
his  heart  of  hearts,  at  one  time  or 
another  in  his  adolescent  years, 
dreamed  of  going  to  West  Point. 

There's  hardly  a  mother  who  hasn't  visioned  her  boy  emerg- 
ing from  the  Academy  with  honors  and  the  world's  squarest 
shoulders.   As  for  the  girls  who  never  hoped  to  hop  with  a 
cadet — there  aren't  any — at  least,  I  hope 
not. 

Ta-tum-tum.     But  before  we  go  in  to     C[Affnes  Ayres 

the  National  Anthem,  which  would  neces- 
sitate our  rising,  and  I  am  chained 

to  my  typewriter — let  me  ask  you 

not  to  forget  that  "Classmates" 

really  means  'something.    For  the 

first  time  cooperation  was  ex- 
tended at  the  Academy  up  the 

Hudson  to  a  screen  company  in 

making  a  fiction  film.  Richard 

Barthelmess,   partly  because  he 

looks  not  out  of  place  in  a  group 

of    clean-cut    young    men,  and 

partly  because  he  is  a  famous  star 
and  the  husband  of  Mary  Hay 
Caldwell — whose  father  is  a  U.  S. 
army  captain — became  a  cadet 
again,  just  for  the  day.  And  Dick 
was  right  at  home.  He  makes 
you  believe  that  once  he,  too, 
wanted  to  be  a  soldier  and 
switched  at  the  last  minute  to  the 
stage.  To  be  sure  he  looks  just 
a  shade  handsomer  in  his  uniform 
than  the  real  cadets  in  theirs;  but 

42 


ClRaymond  McKee,  Eleanor  Boardman  and 
Peter  the  Great  in  "The  Silent  Accuser." 
"This  adorable  doci  made  a  silly  story 
seem  almost  plausible." 


Goods."  "It  provides  a  good 
picture." 


he  can't  help  that. 

At  the  premier  of  "Classmates," 
the  original  screen  version,  made  by 
Biograph,  was  shown,  too.    It  wasn't 
necessary  for  the  purposes  of  point- 
ing out  the  superiority  of  the  up-to-date  model;  Dick  did  it 
just  for  a  laugh.    "Classmates"  have  graduated. 

All  the  extras  you  see  at  the  "hop"  were  doing  it  for  the 
fun  of  the  thing.  They  were  real  cadets, 
and  their  dancing  partners  were  the  girls 
in  "Worldly  who  attended  the  actual  festivities  at  the 
Point.  They  came  down  to  Dick's  New 
York  studio  heavily  chaperoned 
by  majors  and  Mrs.  Majors  and 
Uncle  Sam  only  knows  who  else, 
and  played  at  acting— and  made 
it  real. 

John  Robertson's  direction  al- 
ways brings  out  the  shy  strength 
in  the  star.  As  for  Madge  Evans, 
who  in  this  picture  jumps  from 
little  girl  roles  to  short  skirts, 
she  is  sweet  and  quaint.  (No- 
it's  not  all  in  the  family.  She 
belongs  to  another  branch  en- 
tirely.) 

SURPRISE 

["  ow  do  you  like  your  west- 
erns?    You  may  still  cling 
to  your  good,  old-fashioned  ideas, 
demanding  in  every  picture  of  the 
great  open  spaces  at  least  one 
scene   showing  the   hero  riding 


Oil  lei  en  Holcomb 
and  George  Ur- 
ban in  "The 
Greatest  Love  of 
All"  from  a 
sketch  by  her 
brother  "Wynrt." 


smack  into  the  sunset.  Or  per- 
haps you  prefer  the  one  about 
the  big-hearted  bandit  who  risks 
capture  to  rescue  the  little  child 
of  the  heroine.  It  may  even  be 
that,  in  a  pinch,  you  vote  for  the 
two-gun  great-heart  shooting  up 
the  dance-hall  to  defend  the 
honor  of  his  mother,  though  you 
never  guessed  she  was  his  mother 
until  there  was  a  close-up  of  a 
locket  containing  a  lock  of  baby 
hair.  I  mean,  if  you're  set  in 
your  ways,  there's  no  other  kind 
of  western  for  you. 

But  if  you're  broad-minded 
about  the  thing  I  recommend 
that  you  do  not  fail  to  see  "The 
Beloved  Brute."  You  will  doubt- 
less go  in  anyway,  as  from  the 
title  you  would  never  suspect 
that  here  is  one  of  the  newer  and 
fewer  westerns.  Aside  from  its 
alliterative  billing  it  branches  off 
the  beaten  road  travelled  by  the 

others,  but  it  manages  to  raise  just  as  much  dust  on  its  way. 

J.  Stuart  Blackton  is  fast  developing  into  one  of  the 
most  original  gentlemen  of  our  screen.  I  don't  know  whether 
he  still  clings  to  cap  and  puttees  to  do  his  directing  in,  but 
if  he  does,  his  pictures  don't  show  it.  He  and  his  daugh- 
ter, Marion  Constance,  between  them — she's  his  scenario 
writer,  you  know — harmonize  better  than  is  usual  in  most 
families.  I  like  their  style.  It's  fresh  and  vivid.  Oh,  this 
is  no  "Clean  Heart,"  you  know.  And  it  doesn't  pretend 
to  be.  But  it's  something  new  in  westerns.  The  hero 
doesn't  have  to  excuse  himself  for  being  a  brute — he  just 
is  one.  He  loves  to  fight  and  doesn't  care  who  knows  it. 
As  played  by  Victor  McLaglen,  he  is  an  old  darling,  even 
if  he  is  a  brute. 

Mr.  McLaglen  is  not  as  homely  as  Bull  Montana ;  but 


he  will  never  win  any  beauty  prizes,  either.  And  yet  he 
is  one  of  the  most  fascinating  men  on  the  screen.  Other 
men  like  him — and  that  means  he's  on  the  high  road  to 
stardom  if  he  doesn't  watch  out.  He's  an  athlete,  an  actor, 
and  a  man — and  genuine  in  all  three  roles.  I  saw  him 
long  ago  as  the  villain  in  Blackton's  English  production, 
"The  Glorious  Adventure";  and  I  never  forgot  him. 
You'll  remember  him,  too. 

Another  surprise  is  Marguerite  de  la  Motte,  the  most 
intelligent  dumbbell  in  pictures.  Now,  now,  just  a  minute, 
Marguerite — I'm  not  calling  you  names.     But  you  must 

admit  that  the  girls  Mr. 
Blackton  gives  you  to 
play  have  very  few 
brains,  and  that  in  their 
feet.  They're  pretty,  ex- 
citing creatures,  and  you 
play  them  beautifully. 
You're  a  baby  vamp — 
or  you  would  be  if  they 
were  still  in  style. 

Mary  Alden,  Bill  Rus- 
■sell,  and  a  bear  complete 
the  cast.  I  liked  the  bear 
best.  Oh  yes,  I  nearly 
forgot  the  little  old  man 
— I  lost  my  program,  so 
I  don't  know  his  name: 
but  he's  the  one  who  be- 
friends the  brute.  If 
only  all  old  men  in  pic- 
tures were  like  him '. 
(And  some  of  the  young 
ones,  too.) 

THE  FAST  SET  IS 
SLOW  STUFF 


M 


<\For  the  benefit 
Man,"  Director 
would  hunt  bio 


of  the  players  in  "White 
Gasnier  illustrates  hoiv  he 
c/ame  in  Africa. 


aybe  some  day  pro- 
ducers and  direc- 
tors and  scenario  writers 
will  realize  that  just  be- 
cause a  wise-cracking 
comedy  is  a  smash  on 
the  stage  it  doesn't 
mean  it  must  naturally 
be  a  hit  in  pictures — but 
I  doubt  it. 

There  can  be  no  ques- 
tion that  William  de 
Mille — did  any  one  ever  call  him  Bill,  I  wonder — and  get 
away  with  it? — is  a  veritable  Solomon  among  motion  pic- 
ture directors.  His  Minerva — I  know  she  wasn't  one  of 
the  thousand  wives,  but  you  get  the  idea — who  writes  his 
scenarios,  is  Miss  Clara  Beranger,  and  there  are  few  more 
clever  and  charming  women  scribbling  for  the  screen.  But 
even  this  combination  couldn't  make  "Spring  Cleaning." 
Perhaps  they  used  old  brooms. 

Frederick  Lonsdale's  comedy  was  one  of  the  smart, 
sophisticated  variety.  Its  kick  came  when  a  neglected  hus- 
band ushers  in  a  street  walker  at  his  wife's  dinner  to  show 
up  her  friends.  Epigrams  fairly  fly.  The  characters  can't 
open  their  mouths  without  dropping  some  choice  sly  bit  of 
wit.  All  that,  of  course,  didn't  do  the  movies  much  good. 
The  mistake  has  been  made,  as  usual,  of  putting  the 


45 


C[H.  B.  Warner 
Everything?'' 
it." 


author's    original  lines 
into  the  sub-titles,  whe 
they  fall  with  a  dull  and 
sickening  thud — and  stay 
there.   It's  impossible  to 
get  worked  up  over  a 
scene  which  shows  two 
people  sitting  and  utter- 
ing epigrams,  even  if  they  are  translated  for  you.  caption 
by  caption.    The  sparkle  of  the  play  simply  isn't  there. 
Instead,  a  little  child  is  made  to  lead  them — again.    A  little 
child  with  curly  hair,  too! 

The  only  member  of  the  cast  who  seems  to  be  enjoying 
himself  is  Adolphe  Menjou,  our  best-beloved  exponent  of 
the  tongue-in-the-cheek  technique.  Elliot  Dexter  plays  a 
smug  husband,  and  not  even  Mr.  Dexter  could  be  anything 
but  smug  in  a  part  like  that.  Zasu  Pitts  contributes  a 
caricature  rather  than  a  characterization.  Betty  Compson 
suffers  and  suffers  as  the  wife.  Who  makes  Betty's  clothes 
these  days,  and  who,  in  the  name  of  Irene  Castle,  cut  her 
hair?  Betty,  in  her  spangly  sheath  gown,  looked  so  much 
like  the  Statue  of  Liberty  that  I  expected  any  minute  to 
see  her  raise  her  torch  and  proceed  to  enlighten  the  world. 

COME  INTO  THE  GARDEN.  KIDDIES 

i  6HpHE  Garden  of  Weeds"  proves  that  it  is  very  nice  to 
•li-  have  a  director  in  the  family. 

The  brilliant  Betty  of  the  latest  James  Cruze  picture  is 
as  far  removed  from  the  well-cushioned  Compson  of  "The 
Fast  Set''  as  Mary  Pickford  from  May  Vokes.  What  an 
eccentric  star  she  is!  Just  as  I  am  beginning  to  think,  with 
a  sigh,  that  after  all  she  plays  her  parts  according  to  her 
lights,  mostly  Cooper-Hewitts,  she  comes  along  and  wins 
me  over  again.   It  may  be  the  clothes. 

The  girl-with-a-past  has  a  plot  written  around  her  for  the 
— why  count  'em?  She  is  taken  very,  very  seriously,  too. 
But  Mr.  Compson,  pardon  me,  Cruze,  has  surrounded  her 
with  some  humor  to  take  her  mind  off  her  troubles.  He 
has  two  scenes  which  lift  the  picture  out  of  the  "program" 
class.  One,  in  which  Betty,  a  bride,  attempts  to  tell  her 
husband  of  her  past.     She  relives  her  drama  and  throws 

44 


and  Alma  Rubens  in  "Is  Love 
"//  you  like  Alma,  don't  miss 


her  heart  at  his  feet.  Her 
husband,   stretched  out 
on  the  sunny  beach  with 
his  cap  over  his  eyes, 
says  never  a  word.  Was 
he  asleep,  or  wasn't  he? 
Later   on   the  husband 
and  the  man  out  of  the 
past  come  to  blows.    They  fight  their  way  to  a  balcony 
and  one  of  them  goes  over.    Betty,  waiting,  sees  a  man 
in  the  doorway,  who.  while  she  watches,  slowly  turns. 
Which  one? 

Of  course  these  are  what  we  have  come  to  expect  as 
"Cruze  touches."  That  touch,  also,  is  apparent  in  the  work 
of  Betty  Compson,  including  her  close-ups.  Ten  years 
might  have  elapsed  between  the  close-ups  in  "The  Garden 
of  Weeds"  and  "The  Fast  Set." 

It  is  Libyan  Tashman,  however,  who  stood  out  as  one  of 
the  beautiful  weeds  in  Rockcliffe  Fellowes'  personally  cul- 
tivated garden.  Miss  Tashman  is  a  sub-deb  in  celluloid, 
but  she  brings  a  charm,  a  chic,  which  is  as  new  as  the 
gowns  she  wears  with  such  grace.  The  difference  between 
Miss  Tashman's  clothes  and  Miss  Compson's  is  all  the 
difference  between  the  Follies  and  the  Winter  Garden. 

WOOF.  WOOF 

Anew  star  has  appeared  upon  the  horizon.  And  I  have 
seldom  seen  such  brilliant  technique  in  one  so  strange 
to  the  screen.  The  close-ups  of  this  new  twinkler  show 
amazing  promise  and — may  I  say — sex  appeal? 

Peter  the  Great,  in  fact,  is  forging  to  the  front  by  leaps 
and  barks.  He's  a  perfectly  adorable  dog — there's  no  other 
way  to  put  it.  While  Strongheart  is  a  heavy  Peter  is  an 
ingenue — or  juvenile.  I  should  say,  so  as  not  to  offend 
Mr.  Great.  He  is  not  only  an  actor  and  a  gentleman;  he 
is,  like  Victor  McLaglen,  a  first-class  athlete.  How  he  can 
fight! 

He  made  a  silly  story  seem  almost  plausible.  He  seemed 
to  enjoy  himself  so  much.  It  might  have  been  for  his  art; 
then  again,  it  might  have  been  anticipation  of  the  several 
hundred  bones  coming  to  him  if  he  did  his  work  well. 


Whatever  it  is  that  leads  him  on,  Peter  is — great. 

Eleanor  Boardman  looks  cunning  in  boy's  clothes;  Ray- 
mond McKee  not  quite  so  cunning.  It's  Peter's  picture; 
and  I  think  you'll  like  it,  unless  you  are  one  of  those  mean- 
est-men-in-the-world  who  are  always  kicking  our  dawgs 
aroun'. 

LEWIS  STONE'S  HOME  LIFE  EXPOSED 

I should  think  that  the  husbands  of  the  world  would  form 
a  club — or  use  one — and  put  a  stop  to  this  merciless  ex- 
pose of  their  purely  private  affairs.    It's  getting  so  a  hus- 
band has  no  place  in  his  own  home.    Every  time  he  starts 
to  interfere  with  the  domestic  machinery  he  stops  and 
thinks  that  Lewis  Stone  did  that  very  same  thing  in  a 
picture  he  saw  the  night  before — and  look  what  happened 
to  him!    Mr.  Stone  has  doubtless  broken  up  many  happy 
homes — but  not  for  the  customary  cause.    He  has  simply 
seen  to  it  that  not  a 
husband  in  America  has 
any    private    life  left. 
Which  is  a  mighty  mean 
thing  for  one  man  to  do 
to  another, 


This  latest  John  Stahl  cross-section  of  an  American  house- 
hold is  reminiscent  of  its  forerunners  in  the  Stahl  series, 
except  that  a  radio  is  used  to  help  break  up  the  menage. 
When  Florence  Vidor  wants  Lew  to  comment  favorably 
upon  her  new  bobbed  hair,  Lew,  glued  to  the  ear-phone, 
remarks  that  he's  got  Chicago.  This  is  a  touching  scene — 
probably  not  a  single  bobbed-haired  wife  in  the  audience 
failed  to  squeeze  a  tear  or  two. 

For  my  own  part  I'm  a  little  fed  up  with  domesticity  of 
the  Stahl-Stone  variety.  "Husbands  and  Lovers"  is  just  as 
good  as  the  rest,  but  I  would  like  to  see  a  little  sense  of 
humor  running  around  the  house  for  a  change. 

ANOTHER  BRAND  OF  HUSBAND 

i  6  ^nr  J orldly  Goods"  is  an  expose  of  still  another  speci- 
v  v  men  of  the  species.   But  this  one  is  lovable  in  spite 
of  the  fact  that  he's  a  darn  fool.    He's  one  of  those  who 

talks  all  the  time  but 
never  says  anything. 
Even  marrying  a  pretty 
girl  like  Agnes  Ayres 
didn't  make  Pat  O'Malley 
realize  that  deeds,  not 


(\Conrad  Nagel  and  Pauline  Frederick    in  "Married 
Flirts."    "Pauline  Frederick  is  a  treat." 


promises,  really  count  in  matrimony.  It  takes  Pat  several 
reels  and  some  heartache  to  wake  up.  But  it  provides  a 
good  picture.  If  Paul  Bern  had  not  directed  with  his 
usual  humor  and  seasoned  it  somewhat  with  cynicism, 
"Worldly  Goods"  would  have  become  just  another  one  of 
those.   As  it  is,  it's  one  of  these. 

There's  comedy  sup- 
plied by  Agnes'  pa  and 
ma,  whose  married  life 
was  a  bad  example 
which  Agnes  failed  to 
solve.  Pa  and  ma  are 
human — especially  pa. 

THE  GREATEST 
BUNK  OF  ALL 

p>  tjt  it's  bunk  backed 
by  one  of  our  best 
little  showmen — George 
Beban.  So  that  "The 
Greatest  Love  of  All" 
has  appeal  even  for 
those  who  know  they're 
being  taken  in.  Un- 
questionably the  fore- 
most in  Italian  charac- 
terization, Mr.  Beban 
adds  another  portrait  to 
his  long  gallery — that 
is,  the  same  portrait  in 
another  frame. 

Your  youngest  child 
will  be  able  to  tell  you 
the  rest  of  the  plot  af- 
ter the  first  reel.  If 
you  haven't  a  child  bor- 
row your  neighbor's. 
But  you  may  prefer  to 
see  "The  Greatest  Love 
of  All"  for  yourself. 
You  may  have  seen 'it 
already,  as  New  York 
was  the  last  of  the 
towns  played  by  George 
and  his  company.  The 
picture  is  interrupted  at  the  court-room  scene  to  permit  the 
flesh-and-blood  actors  to  appear ;  then  the  picture  is  allowed 
to  proceed.  Judging  by  the  applause  which  greeted  the  star 
in  "hard-boiled"  Manhattan,  it's  a  wonderful  picture. 

But  as  has  been  remarked  so  many,  many  times,  little 
old  New  York  is  the  largest,  and  the  smallest,  town  of  all. 
"All  the  hicks  you  care  to  meet  are  right  on  Forty-second 
Street"— in  old  New  York! 

EXCITEMENT  IN  SOUTH  AFRICA 

TyfTERCY,  didn't  the  debbies  and  tabbies  chatter  when  they 
A  heard  that  Lady  Mary  had  disappeared  in  an  air- 
plane with  a  strange  man  on  the  very  eve  of  her  wedding 
to  a  diamond  millionaire!  How  they  did  buzz,  to  be  sure! 
And  when  Lady  Mary  returns  after  a  time  spent  in  the 
jungles  with  the  self -same  stranger  and  announces  that  there 
is  "more  purity  out  there  in  a  year  than  there  is  in  an  hour 
over  your  tea  tables,"  why,  she  just  upsets  the  whole  social 
system  of  South  Africa.  Or  so  we  are  given  to  understand 
in  "White  Man." 


Alice  Joyce's  heroine  isn't  named  Lady  Mary,  but  out- 
side of  that,  it  comes  to  the  same  thing.  Kenneth  Harlan 
is  the  strange  man  known  as  white  to  the  natives.  Alice 
is  requested  to  call  him  just  "White  Man"  too;  and  she 
does,  in  all  her  sub-titles.    I  don't  remember  if  there  was 

a  title  saying,  "I  am 
your  man  and  you  are 
my  woman,"  but  there 
should  have  been. 

It  may  have  been  the 
title-writer's  fault,  but 
I  failed  to  get  excited 
with  South  Africa  about 
Alice  and  "White 
Man."  Miss  Joyce 
rather  resembles  a  mar- 
ble statue  on  roller- 
skates.  After  all,  I  like 
a  little  animation  in  a 
picture;  and  Alice  is  so 
repressed  it  hurts. 

NO,  BUT  ALMA  IS 

Answering  the  ques- 
tion put  to  the 
motion  picture  public, 
"Is  Love  Everything?" 
It's  one  of  the  pictures 
which  looks  as  if  it  had 
been  scrambled.  A 
shame  because  it 
wastes  the  talents  of 
such  stars  as  Alma 
Rubens  and  H.  B. 
Warner.  If  you  like 
Alma  don't  miss  it. 
She  looks  more  beauti- 
ful than  ever,  and  when 
the  story  or  the  direc- 
tor permits,  she  does 
some  good  work.  Mr. 
Warner  makes  me  wish 
some  producer  would 
remember  him  in  the 
old  Ince  opus,  "Shell  43,"  and  really  re-introduce  him  to 
the  screen.  He's  such  a  gentleman — but  he  can  forget  it 
at  times.  • 

FREDERICK  THE  GREAT 

IT  am  not  sure  if  I  was  awake  every  minute  while  viewing 
A  "Married  Flirts."  If  I  wasn't  I  hope  I  didn't  miss  any 
of  Pauline  Frederick's  scenes.  A  "society  drama"  such  as 
this  almost  always  makes  me  drowsy.  Not  Bob  Vignola's 
expert  directing,  Mae  Busch's  fine  acting,  Huntley  Gordon's 
chin  or  Conrad  Nagel's  saintly  smile  saved  this  for  me. 
Pauline  Frederick,  however,  is  enough  of  a  treat  for  any 
one  picture.  As  a  neglected  wife  who  turns  the  table  on 
"the  other  woman"  she  has  a  hard  role  to  hoe,  but  she  makes 
it  look  easy. 

A  DREARY  DEVIL 


en  Lyon^  and  Gloria  Sivanson  in  "Wages  of 
Virtue."  "She  has  made  tremendous  strides  since 
her  De  Mille  days." 


o 


ne  of  the  sub-titles  reads: 
saint;  some  say  he's  a  devil. 


"Some  women  say  he's  a 
But  he  makes  life  hell  for 


46 


all  of  them." 

That  includes  me.  Oh, 
Rudie,  how  could  you! 
Coming  right  after  the 
suave,  the  magnificent 
"Monsieur  Beaucaire!" 
But  the  title  of  the  pic- 
ture tells  the  story.  No 
picture  could  live  down 
being  called  "A  Sainted 
Devil."  This  one  doesn't 
even  try. 

I  may  be  wrong  about 
that,  though.  Maybe  it 
tries  too  hard.  It  kept 
me  on  the  edge  of  my 
seat  for  the  first  five 
reels  waiting  for  some- 
thing to  happen.  Some- 
thing did.  Night  fell. 
(Yes;  there's  really  a 
caption,  "Nightfall.") 
After  that  I  gave  up. 

How  Mr.  and  Mrs. 
Rudolph  Valentino,  star 
and  supervisor;  Forrest 
Halsey,  scenario  writer, 
and  various  others  con- 
cerned with  its  produc- 
tion, could  permit .  it  to 
happen  I  don't  know. 
You  might  write  and  ask 
them.  Almost  anything 
after  "Beaucaire"  would 
be  very  much  in  the  na- 
ture of  an  anti-climax. 
But  there  must  have 
been  other  ways  of  prov- 
ing it.  Some  of  the 
scenes  are  truly  beauti- 
ful, until  the  actors  be- 
gin to  act.  They  act  a 
lot  but  they  don't  ever 
get  anywhere. 

Even  Valentino  tries 
too  hard,  and  succeeds  in 
giving  a  lovely  portrayal 
of  an  actor  acting.  Nita 
Naldi's  impersonation  of 
a  South  American  siren 
deserves  to  rank  with  the 
best  comedy  efforts  of 
Louise  Fazenda  or  Dor- 
othy Gish.  Dagmar  Go- 
dowsky  looks  subtle  as 

the  belle  of  an  unnamed  South  American  city  about  whom 
it  is  said  that  all  men  are  in  love  with  her.  The  beauty, 
grace  and  distinction  of  Helena  D'Algy  provide  the  real 
romance.  You  haven't  seen  her  often,  but  you  will.  She 
looks  a  bit  like  Florence  Vidor,  but  does  not  make  me 
wish,  as  does  Florence,  for  a  handy  little  pocket-bomb  to 
see  if  she's  really  alive.    You  know  Miss  D'Algy  is. 

An  excitable  middle-aged  woman  sitting  next  to  me  rustled 
her  program,  dropped  her  hat  once  and  her  bag  twice,  and 
finally  burst  out  to  any  one  who'd  listen,  "For  heaven's 
sake,  why  don't  they  do  something?" 

Just  a  little  sense  of  humor  would  have  helped  "A  Sainted 


Devil"  more  than  his 
quartet  of  leading  women 
and  all  the  champagne, 
pampas,  and  mamas  in 
the  picture. 

LOVE  AND  HATE — 


Q.Rudolph    Valentino  in 
"An  anti-climax  after 


'ell,  it's  supposed 
to  be  in  Sidi-bel- 
Abbes,  which,  as  nearly 
as  I  could  gather,  is 
somewhere  in  Algeria.  It 
looked  more  like  Long 
Island  City.  "The  na- 
tive quarter"  seemed  just 
like  the  good  old  native 
quarter  that  we  have 
seen  in  a  hundred  films. 
At  the  outset  "Wages  of 
Virtue"  offered  oppor- 
tunities for  color  and  ro- 
mance; it  ended  in  of- 
fering all  its  opportuni- 
ties to  the  star.  Where 
is  there  such  a  back- 
ground as  the  Foreign 
Legion  holds?  You  have 
the  kid  from  Broadway; 
the  gentleman  from  Eng- 
land; the  apache  from 
Paris— all  apaches  come 
from  there,  don't  they? — 
and  the  young  American. 
But  what  are  you  going 
to  do  with  them?  Weave 
your  own  romances 
around  them,  I  suppose; 
because  the  author  and 
the  director  don't  do  it 
for  you. 

Gloria  splashing  in  a 
fountain;  Gloria  fighting 
a  regiment;  Gloria  danc- 
ing; Gloria  crying — 
now,  I  like  Miss  Swan- 
son  as  well  as  anybody, 
but  I  couldn't  separate 
her  from  her  luxurious 
studio  dressing  room  on 
wheels  no  matter  how 
hard  I  tried.  She  wasn't 
to  me  Carmelita,  the 
darling  of  the  legion. 
She  was  Gloria  Swanson. 
I  don't  blame  her.  After  reading  all  the  reviews  written 
about  her  late  pictures  in  which  she  is  now  hailed  as  a 
great  actress,  she  would  be  justified  in  refusing  story, 
director  and  supporting  cast,  and  merely  appearing  in  a 
series  of  close-ups.  I  agree  that  she  has  made  tremendous 
strides  since  her  de  Mille  days;  but  she  has  a  long  way 
to  go  before  she  can  be  called  a  great  actress,  or  even 
a  very  good  one. 

Ben  Lyons  has  the  best  break  among  the  soldiers  of 
the  Legion,  which  also  include  Norman  Trevor  and  Joe 
Moore.  But  we  never  get  to  know  these  romantic  fellows 
very  well,  which  is  too  much  to  expect  possibly,  inasmuch 
as  the  heroine  didn't  either. 


"A  Sainted  Devil." 
Monsieur  Beaucaire." 


47 


E VIEWS  in  AJRIEV 


y  Martin  B.  ~Dkkstein 


ECKLESS  ROMANCE — Prod.  Dist.  Corp.— All 
romance  being  reckless,  more  or  less,  'the  passing 
of  Leap  Year  notwithstanding,  we  looked  to  this 
Scott  Sydney  production  with  no  undue  fore- 
bodings. It  proved  to  be  less  reckless  than  Mr. 
Sydney  probably  meant  it  to  be,  but  none  the  less  ex- 
citing— and  darn  comical.  Anything  with  a  sucker  in 
it  who  falls  for  a  prospectus  of  an  oil  well  must  be 
comical — to  the  other  fellow.  Breathes  there  the  man 
who  never  to  himself  has  said,  ''This  is  my  first,  my 
biggest  chance  to  make  a  million  in  oil?"  There 
breathes  not.  Well,  anyway,  Reckless  Romance  is  all 
about  a  fellow  who  inherits  ten  thousand  dollars  and 
sinks  it  in  an  oil  well.  The  bottom  falls  out  of  it 
in  the  period  bounded  by  the  second  and  fifth  reels,  but 
in  the  sixth — well,  ain't  it  a  grand  and  glorious  feeling 
to  see  the  old  well  spouting  oil  two  hundred  feet  over 
the  top  of  the  derrick?  That's  only  part  of  the  story. 
There  are  innumerable  bits  of  by-play  and  side-tracked 
romance  to  gladden  the  heart  of  even  a  seven  time 
Mormon  widow. 

The  cast  is  extraordinary  with  T..  Roy  Barnes.  Harry 


CifPe '  think  "Christine  of  the  Hungry  Heart"  is 
decidedly  worth  seeing,  particularly  Florence 
Vidor  and  Ian  Keith. 


Meyers,  Wanda  Hawley,  Sylvia  Breamer,  Tully  Marsliall 
and  Lincoln  Plumer  appearing  in  the  principal  roles. 
With  such  a  galaxy— well,  figure  it  out  for  yourself. 

EAST  OF  BROADWAY — Ass'd.  Exhibitors— -They  asked 
Owen  Moore  where  the  Tropic  of  Capricorn  was  and 
he  very  confidently  answered,  In  the  Bronx.  And  so  it 
happened  that  Pete  Mullaney  (Mr.  Moore)  didn't  get 
on  the  cops  in  the  screen  version  of  Richard  Connell's 
story  Where  Is  the  Tropic  of  Capricorn.  But  Pete  man- 
aged to  get  into  a  uniform  for  a  single  night — the  night 
he  called  on  his  girl — and  what  he  does  to  a  couple  of 
yeggs  is  a  sizzling  caution. 

Though  incredible  in  spots,  as  most  delightful  hokum 
usually  is,  East  of  Broadway  is  one  broad  smile  bound 
to  reach  out  and  grab  the  average  audience  right  under 
the  patch  pocket  where  it  wears  its  kerchief.  The  film 
has  a  wealth  of  human  interest,  supplied  as  only  a  fellow 
like  Owen  Moore  in  brass  buttons  and  blue  coat  can 
supply  it.  To  be  sure,  this  production  by  William  K. 
Howard  can  lay  no  claim  to  greatness  on  grounds  of 
subtlety  or  any  unusual  modes  of  expression,  but  the 
story  is  there  and  it  has  been  said  oft  and  truthfully  that 
the  play's  the  thing. 

Marguerite  de  la  Motte  offers  a  brilliant  performance  as 
Judy  McNulty,  the  feminine  lead.     Since  The  Clean 
Heart  we  have  come  to  look  upon  this  lady  as  an  actress 
of  no  common  ability.    Mary  Carr  does  her  motherly 
bit,  as  she  has  so  often  done  it  before, 
and  George  Nichols  plays  Officer  Gaff- 
ney,  a  flat-footed  copper,  who  pounds 
his  bull  dogs  day  in  and  day  out  on  the 
sidewalks  of  New  York.    This  film  is 
homely  'stuff  like  the  odor  of  corned 
beef  and  cabbage  drifting  up  the  back 
stairs.    And  just  as  delicious. 

CHEAP  KISSES — F.  B.  0.— Osculatorily 
speaking,  the  title  here  is  a  paradox,  for 
whoever  heard  of  a  kiss  that  didn't  even- 
tually cost  as  much  as  a  box  of  alli- 
gator pears  laid  down  on  a  Cunard  pier 
in  January?  You  have?  Well,  then, 
you've  never  been  in  Hollywood  and 
watched  the  moon  rise  from  the  back 
porch  of  the  Studio  Club.  But  all  that's 
getting  away  from  the  business  in  hand 
— of  telling  you  that  in  spite  of  the 
paradoxical  title,  Cheap  Kisses  is  really 
an  amusing  and  moving  (mostly  amus- 
ing) drama  of  life  as  it  is  lived  in  the 
supper  strata  of  our  very  best  society. 
C.  Gardner  Sullivan  has  given  us  hen 
the  old,  old  story  of  the  scion  of  a 
wealthy  family  who  takes  unto  himself 
a  chorus  girl  for  better  or  for  worse — 


46 


better  for  the  c.  g.  and  worse  lor  him.  Fill 
in  the  blanks  yourself.  The  plot  gets 
thicker  and  Hon  and  Dearie  get  thinner 
since  Pater  and  Mom  have  told  them  never 
to  darken  their  pantry  door  again.  But 
everything  comes  out  all  right  as  things 
usually  do  in  C.  G.  Sullivan  yarns,  and 
you'll  probably  leave  the  theatre  with  a. 
kindlier  feeling  toward  the 
chorus  girl  than  ever  you  had 
before.  Cidlen  Landis  and 
Lillian  Rich  have  the  principal 
roles  while  Vera  Reynolds, 
Louise  Dresser  and  Jean  Her- 
sholt  are  conspicuous  in  the 
support.  And  now  for  just  one 
more  word  about  Cheap  Kisses. 
Don't  believe  it  for  a  minute. 
Imported  or  domestic,  every 
puckered  mouth  has  a  duty  all 
its  own. 

CHRISTINE  OF  THE  HUNGRY 

HEART — Ince-First  National — it  has  been 
said  of  Florence  Vidor  that  she  can  look  and 
act  like  any  other  actress  more  than  any 


Q."Cheap  Kisses''  is  an 
amusing  and  moving 
(mostly  amusing)  bit 
with  Vera  Reynolds. 


other  actress  can  look  a:id  act  like  Florence 
Vidor.  In  this  Ince-First  National  release, 
she  acts,  even  if  she  doesn't  resemble,  Gloria 
Swanson.  Christine  is  a  typical  Swanson 
role  and  it  is  with  a  humble  curtsy  to  Miss 
Vidor  when  we  say  the  latter  does  it  com- 
•  plete  justice.  This  story  by  Kathleen  Nor- 
ris  is  a  tale  of  three  husbands  and  a  wife 
who  leaves  all  three  of  them 
for  various  and  very  good  rea- 
sons, only  to  return  to  husband 
No.  1  when  she  finds  him  a 
pitiful  v'ctim  of  drugs  and 
drink.  The  picture  is  slowed  a 
bit  here  and  there  when  the 
going  gets  too  sticky  with  sen- 
timentality and  sometimes  Di- 
rector George  Archainbaud  al- 
lows himself  to  get  away  from 
his  story  and  into  the  by-ways 
of  unnecessary  detail.  How- 
ever, it  is  a  fairly  engaging  bit 
of  drama  which  .will  prove  pop- 
ular enough  with  the  feminine  fans — espe- 
cially the  married  ones.  Clive  Brook,  Ian 
Keith,  Warner       (Continued  on  Page  78) 


ClCelebration  of  Roman  naval  'victory  and  return  of  conquerors 
to  Misenum.  Ben  Hur  (Ramon  Novarro),  and  Arrius  {Frank 
Currier)  on  horses. 


'Pre- Jhowing     of     Creature  C^ilms 


Qfifn  Hur  reaches  out  to 
(/rasp  the  tile  •which  he 
has  accidentally  caused 
to  fall  and  strike 
Gratus.  Tirzah  (Kath- 
leen Key)  his  sister, 
looks  down  in  amaze- 
ment. 


(J[First  pictures  from  Rome  of  the  scenes  al- 
ready made  under  the  direction  ofFred  ~Nib/o 


Q[C.armcl  Myers  as  Iras 
in  "Ben  Hur." 


(\Ben  Hur  (Ramon  Novarro) 
and  Arrius  (Frank  Currier) 
on  raft.  Nearby  is  the  Roman 
galley  which  is  making  ready 
to  rescue  them. 


m 


51 


GlCarol  Dempster 
and  Neil  Hamil- 
ton. 


Again  the  old  mas- 
ter of  all  directors 
brings  to  the  scree;: 
a  gem  of  cinema 
beauty. 


52 


yRE-jHOWING       OF       CREATURE  C^ILMS 


54 


Pre-^howing     of     Creature  C/mlms 

T^f  ,n  Paradise 


Ronald  Colman  ninth 
Doris  Kenyon  in  a  ten- 
der love  scene. 


The  •wild  south  sea  dance  by  Rosa 
Carmino  (Ailecn  Prinejle)  at  her 
studio  apartment. 


Mae  Busch  is 
the  Lady  of 
the  Saloon, 
and  loved  by 
all,  not  to  ex- 
cept Eugene 
O'Brien. 


Q.The  scenery  awakens  the  ro- 
mantic blood  of  the  actor;  he 
marries  the  'Daughter  of  the 
Barroom,  and  to  her  entrusts 
his  boy. 


G[It  is  Mildred  Har  ris  as  Chita,  the 
half  breed  Spanish  girl,  who  gets 
Eugene  all  liquored  up;  and  as  the 
roaring  climax  draws  nearer  a 
terrific  explosion  tears  through -the 
viouniains. 


Ben  Alexander 


(\The  hands  rush  to  the  rescue 
and  it  is  the  injured  son  who 
brings  everything  out  all 
right. 


Viola  T)ana 

She  has  rings  on  her  fingers  and  bells 
on  her  ankles  in  "As  Man  Desires.  " 


58 


i^o  rm  a   Talma  dge 

"The  Lady"  goes  a-traveling.  Norma  Tal- 
madge,  having  completed  a  picture,  takes  a 
vacation  in  'Europe  and  leaves  America  flat. 


Photograph  by  Edwin  Bnw»r  Hesser, 

Conrad  K[agel 

His  next  picture  will  be 
"Cheaper  to  Marry" 


^Photograph  by  Edwin  "Bower  Hesser. 

ISlgrman  Kerry 

Is  soon  to  be  seen 
in  "The  Price  of  Pleasure" 


Cj^)ramaland 


Myron  Zobel  finds  on  Broadway 
some  film  plots,  but  he  cannot  de- 
cide which  screenplayers  would 
best  fit  the  parts. 


RINCESS  THEATRE,  November  17,  1924— The  movies  could 
make  something  interesting  out  of  "The  Steam  Roller"  if  they 
could  rind  an  actress  to  play  the  leading  part.  Only  Amelia 
is  not  the  kind  of  part  that  fits  into  any  of  the  usual  movie 
pigeon  holes.  Listen  to  the  plot  of  it  and  see  if  you  don't  agree  with 
me.    Lawrence  Eyre  wrote  it. 

Reel  Owe— Amelia  is  the  high-handed  ruler  of  the  household.  They 
all  call  her  the  steam  roller  because  she  rides  over  all  obstacles  till 
she  reaches  what  she  wants.  Her  sister  Dorcas  has,  many  years  before, 
been  in  love  with  William  Trimble  (Conway  Tearle  would  fit  fine 
into  this)  but  Amelia  forged  a  letter  which  William  sent  to  the  father 


<3[Jackie  Hurlbert  in  "Hassard  Short's 
Ritz  Revue."  She  supplies  the  Ritz 
flavor. 


Photograph  by  Nicholas  Haz. 


Wise  Marvenga,  the  Viennese  beauty,  engaged  to  play  the  lead 
m  the  musical  play,  "Love  Time." 


62 


proposing  for  Dorcas'  hand  and  substi- 
tuted herself  instead.  Then,  when 
Trimble  fled  to  China  to  avoid  the  mixup 
Amelia  let  the  whole  village  believe  that 
she  herself  was  the  deserted  fiancee. 

Reel  Two — Amelia  then  wheedled  her 
father  into  leaving  her  in  charge  of  all 
the  property  and  appointing  her  co-guard- 
ian of  Roger  Trimble— William's  nephew. 
Roger  is  in  love  with  Kate  Thorn, 
Amelia's  secretary;  but  Amelia  has  other 
plans.    (Wouldn't  she  just!) 

Reel  Three—Mrs.  Worthington,  a 
neighbor  of  Amelia's,  is  promoting  one 
Dr.  Fun  Gow,  a  missionary  from  China. 
He  requires  $25,000  to  build  his  mission. 
Amelia  blackmails  the  village  banker  po- 
litely and  gets  him  to  subscribe  that  sum. 

Reel  Four— Suddenly  William  returns 
fiom  China.  Dr.  Fun  Gow  recognizes 
him,  Amelia  appropriates  him,  and  Sis- 
ter Dorcas  warns  him  to  fly  back  to 
China  because  •'Amelia  has  made  up  her 
mind  to  marry  him." 

Reel  Five  and  Six — Showing,  of  course, 
the  triumph  of  masculine  methods  (with 
the  aid  of  a  riding  whip)  against  femi- 
nine unscrupulousness  after  Amelia  has 
locked  William  and  Dorcas  out  of  the 
house  for  a  whole  night  long  and  had 
Roger  and  Kate  arrested  for  trying  to 
elope.  Amelia  is  forced  to  go  to  China 
herself  to  take  charge  of  the  mission, 
and  William  and  Dorcas  and  Roger  and 
Kate  marry.     And  if  that  isn't  enough 


action  lor  a  six  reel  movie  I'll  write  one 
myself.  Only  who  have  we  got  to  play 
Amelia?    Now  I  ask  you! 

"GROUNDS  FOR  DIVORCE" 

EMPIRE  THEATRE— November  10, 
1924 — -Here's  a  movie  made  to  or- 
der. Constructed  by  Ernest  Vajda  (au- 
thor of  three  current  Broadway  plays) 
it  has  all  the  elements.    Here  they  are : 

Reel  One — Denise  Sorbier  (created  ex- 
pressly so  that  Bebe  Daniels  might  play 
the  part)  is  married  to  a  divorce  lawyer 
(Jack  Holt,  you'll  do)  who  knows  how  to 
divorce  other  men's  wives,  but  doesn't 
know  how  to  keep  his  own.  Neglect 
drives  her  to  leave  him  and  in  a  great 
rage  she  hurls  an  ink  well  at  his  head. 

Reel  Two — Denise's  best  girl  friend 
has  ensnared  Sorbier.  who  is  now  di- 
vorced from  Denise.  It  is  the  eve  of 
their  impending  marriage  when  Denise 
returns — from  the  air.  as  it  were.  (Can't 
you  just  see  Bebe  in  that  aviation  cos- 
tume?) She  has  flown — from  her  sec- 
ond husband — with  her  third  husband-to- 
be.    (He  is  an  aviator.) 

Reel  Three — Sorbier,  of  course,  is  in 
love  with  his  first  wife.  (Aren't  they 
always — in  the  play?)  She  tells  him  her 
first  husband  was  no  worse  than  her  sec- 
ond. She  wants  another  divorce  and  this 
time  she  wants  her  first  husband  to  get 
it  for  her.  Sorbier  becomes  so  interested 
in  listening  to  her  testimony  that  he  for- 
gets his  waiting  fiancee  and  she  leaves 
him.  But  not  before  hurling  another  ink 
well  at  him.  This  one  is  full  of  red  ink 
and  the  twin  spots  of  black  and  red  on 
the  study  wall  will  be  very  effective  if 
the  scene  is  shot  in  color  photography  or 
retouched  by  hand. 

Reel  Four — The  story  Denise  tells  is 
a  corker.  What  a  flashback  it  will  make! 
She  says  she  met  her  second  husband  on 
the  train  to  Rome.  He  insulted  her  by 
his  undesired  attentions  and  then  made 
a  bet  (which  Denise  overheard)  that  he  • 
would  ''get"  that  little  French  girl.  In 
spite  she  married  him  and  on  their  bridal 
night  she  locked  her  door.  That  door 
has  been  locked  ever  since,  she  tells  her 
first  husband-lawyer. 

Reel  Five — Here,  naturally,  the  hus- 
band overcomes  the  lawyer  and  he  takes 
his  first  wife  in  his  arms.  She  tells  him 
that  it  was  all  a  ruse,  she  has  not  remar- 
ried. So  they  do.  And  what  could  be 
sweeter. 

"DANCING  MOTHERS" 

TMTAXINE  ELLIOTT'S  THEATRE, 
November  3.  1«24— The  authors 
who  wrote  that  title  had  the  movies  in 
mind.  Edgar  Selwyn  and  Edmund 
Goulding  know  their  stuff.    Get  this: 


GiRosaUnd  Fuller,  ap- 
pearing in  "The  Far- 
mer's Wife,"  the  com- 
edy starring  Mr.  and 
Mrs.  Coburn. 


Reel  One — Ethel  Westcourt  is  a  fine 
old-fashioned  wife  and  mother.  (Now 
don't  laugh  when  I  say  that  Corinne  Grif- 
fith can  play  this  part.  Just  you  wait 
arid  see.)  Her  husband,  as  the  saying 
goes,  is  playing  off  the  bases.  And  her 
daughter  (Kittens  is  her  nickname)  never 
had  any  bases  but  if  she  had  had  she 
would  have  played  off  of  them  just  the 
same.  Of  course  Pauline  Garon  will  play 
that  part.  It  doesn't  matter  who  does 
the  husband. 

Reel  Two — Mrs.  Zola  Nassarene  is  a 
lady  with  a  shady  reputation  and  when 
Mrs.  Westcourt  discovers  that  her  hus- 
band and  daughter  are  indifferent  to  her 
steadfast  virtue  she  decides  to  abandon 
some  of  it.  That  very  night  she  and 
Mrs.  Nassarene  go  to  "that  wicked  roof 
club."  Won't  you  be  surprised  when  I 
tell  you  that  Mr.  Westcourt  and  his  lady 
friend  are  there?  Moreover  Kittens  and 
her  gentleman  friend  are  there  also. 
(You'd  think  there  was  only  one  roof 
club  in  New  York.) 

Reel  Three — Luckily  Mr.  Westcourt 
finds  his  daughter  and  escorts  her  home 
just  before  his  wife  comes  in.  Gerald 
Naughton  is  the  name  of  the  man  whom 
Kittens  is  carrying  on  with.  (This  is  a 
good  fat  part,  as  you  will  see,  and  be- 
(Continued  on  Page  94) 


(\Janct  Stone  doing  a  Louis  Ouinze  "jazz"  in 
"Madame  Pompadour"  at  the  Beck  Theatre,  in 
which  If'ilda  Bennett  has  scored. 

63 


66  ip 


SCtVE 

Br  H.  B.  K. -Willis 


T 


o  my  Reading  Public: 


Dear  Madam — A  bitter  battle  for 
supremacy  in  the  motion  picture 
world  is  shaping  up.  Famous  Players- 
Lasky  seems  cast  for  the  role  of  Caesar,  and 
Metro-Goldwyn-Mayer  for  that  of  Brutus. 

The  outcome  of  it  all,  though  the  final 
reckoning  may  not  come  for  years,  will  be 
that  Famous  Players-Lasky  will  swallow 
Metro-Goldwyn-Mayer  or  M-G-M  will  engulf 
F-P-L.  It  will  really  make  little  difference 
to  the  man  in  the  seat  who  wins. 

And  Joe  Schenck — Joseph  M.  Schenck — 
hitherto  best  known  as  Norma  Talmadge' s 
husband,  is  perfecting  his  roar! 

Hardly  more  than  twenty  years  ago  he  was 
rubbing  windows  for  three  bucks  a  week,  slav- 
ing his  way  through  New  York  University. 

Today  when  he  rubs  his  hands  movie  mag- 
nates tremble. 

Schenck  was  the  power  behind  when  the 
first  threat  to  Famous  Players-Lasky  supre- 
macy, the  Metro-Goldwyn-Mayer  $75,000,000 
merger,  was  consummated  last  summer. 


(\Left  to  right:  Constance  Talmadge,  Marcus  Loew,  Norma 
Talmadge  and  Joseph  M.  Schenck.  They  were  do<wn  to  the 
train  seeing  Marcus  home  after  his  inspection  trip  here. 


Q.Muriel  Hancock,  Pendleton  belle,  Julius  Bernheim,  JJniv'ersal's 
general  manager  and  Marion  Nixon,  Hoot  Gibson's  leading  woman, 
had  a  great  time  at  the  Round-Up  watching  the  cowpunchers  throw 
the  bull  and  pass  the  buck  on  bronchoes.    Pipe  the  shirt  on  Julius. 


And  then  the  other  day  when  the  second 
wallop  at  F-P-L  was  announced,  the  $70,- 
000,000  merger,  (though  the  money  and 
property  involved  is  thrice  that)  affecting 
Norma  and  Constance  Talmadge,  Mary  Pick- 
ford,  Douglas  Fairbanks,  Charlie  Chaplin,  et 
al.,  Schenck  did  the  announcing. 

It  was  also  intimated  that  D.  W.  Griffith 
might  come  in  on  the  deal,  and  it  is  known 
that  Harold  Lloyd  and  Rudolph  Valentino, 
though  they  have  signed  with  Paramount  for 
one  picture,  are  considering  participation  in 
what  I  believe  should  be  called  the  Schenck- 
United  Artists'  merger.  This  trio  is  the  ''et 
al." 

Griffith  has  agreed  to  direct  for  Paramount, 
which  is  just  another  way  of  saying  F-P-L. 


64 


Q.  After  Joseph  Sckenck 
decided  to  join  United 
Artists  with  Norma  and 
Constance  Talmadge,  all 
hands  lunched  and 
posed.  Those  in  the 
merger,  left  to  right 
are:  Lower  row,  Hiram 
Abrams,  president  of 
United  Artists;  Denis 
O'Brien,  attorney  for 
Doug  and  Mary;  Mary 
Pickford  and  her 
mother,  Mrs.  Charlotte 
Pickford;  upper  row: 
Charles  Chaplin,  Ar- 
thur Kelly,  Chaplin's 
legal  representative ; 
Douglas  Fairbanks  and 
Joseph  Schcnck. 


declaring  his  alliance  with 
Mary,  Charlie  and  Doug  was 
just  a  "publicity  favor." 

Can  you  understand  all  this? 
I  can't,  and  neither  can  Fa- 
mous Players-Lasky. 


They'll  fast  have  to  change 
the  name  of  this  "Mare  Nos- 
trum" picture.  Somebody  is 
sure  to  take  it  for  a  horse  medi- 
cine. 


Mae  Murray  caused  the  big  gasp  of  the  month  at  the  party  given 
to  broadcast  the  selection  of  him  who  was  to  play  Danilo  to  her  Sonia 
in  Erich  von  Stroheim's  "Merry  Widow." 

The  soiree  was  staged  at  the  Club  Petrouschka,  the  old  Hollywood 
playground. 

The  night  of  the  party  came  and  the  decision  whether  Jack  Gilbert 
or  Norman  Kerry  was  to  be  Danilo  was  still  up  in  the  air. 
Mae  hadn't  said. 
Therefore : 

Harry  Rapf,  M-G-M  power,  wouldn't  say. 
Irving  Thalberg,  M-G-M  power,  wouldn't  say. 
Erich  wouldn't  say. 
Marcus  Loew  wouldn't  say. 

And  all  the  other  M-G-M  big  bugs         ^A  tartS  ^  °'™fn  t0, 
,  ,  ?  ,  ,.  announce  the  choice  of 

couldnt  say  because  they  were  holding  Gilbert;  here  they 

their  collective  breaths.  are:  Mae  Murray  the 

Merry  Widow,  herself, 
and  even  Von  Stroheim 
the  director. 


GlJohn  Gilbert,  who 
will  play  "Danilo" 
in  "The  Merry 
Widow." 


Q.  Betty  Compson  in  the  role  of  a  Fi 
dancer  in  "New  Lives  for  Old." 


01  Here's  Elinor  Glyn  getting  ready  to  tickle 
your  fancy  with  another  pulse-bounder — 
"Man  and  Maid," — which  she  is  now  writing. 


He  glowered  at  Mae. 
She  didn't  even  see  him. 

So  he  sulked  all  evening  at  a  little  side  table,  threatening  in- 
stant departure,  vengeance  and  all  sorts  of  dire  things  with 
every  breath. 

Viands  disappeared  in  famous  maws  of  the  movies,  and  the 
post -prandial  felicitations  began  to  be  wafted  about.  Some- 
what in  this  motif : 

"Praise  Rapf  from  whom  all  blessings  flow 
Praise  Irving  Thalberg  here  below 
Praise  M-G-M  and  Lou  Mayer  so 
And  don't  forget  our  Marcus  Loew." 
Soon  everything  was  said  except  the  announcement  which 
was  the  raison  d'etre  of  the  party. 
''Who  is  to  be  Prince  Danilo?" 

The  writing  people  full  of  questions,  and  other  things,  began 
to  become  inquisitive. 

Erich  finally  struggled  to  his  feet  and  announced  that  John 
Gilbert  was  to  be  Danilo. 

The  tension  broken,  every  one  felicitated  every  one  else  fev- 
erishly for  a  space  until  John  Gilbert  stood  up  on  his  hind  legs. 

All  of  his  remarks  save  his  conclusion  have  been  forgotten. 
That  will  live  forever. 

He  said: 

"It  has  been  definitely  decided  that  Mae  Murray  will  play 
Sonia." 


Q.  Mary  Philbin — and  the  headless  gentleman  is 
Lon  Chaney — in  "Phantom  of  Opera."  Lon 
Chaney's  make-up  is  being  closely  guarded. 
It  is  supposed  to  be  the  most  masterly  of  all 
his  make-up  triumphs. 

The  board  was  spread  by  the  palpitant  press  men  ar- 
ranging the  affair.  The  guests  filed  in,  agog  at  the  pros- 
pect of  learning  who  was  to  get  the  coveted  role. 

They  paid  homage  to  Queen  Mae  and  found  their  places. 
All  but  Erich  von  Stroheim. 

He  scanned  the  place  cards  at  the  table  of  honor  in  vain. 
He  was  not  to  sit  in  a  seat  of  the  mighty  but  at  a  little 
table  to  one  side. 


01  Lillian  Gish 
as  "Romola." 


66 


Hour."  Think  what  she  could  have  done  with 
"Thirty  Minutes,'-  much  less  "In  a  Second!" 

Mme.  Glyn  is  now  quilling  her  way 
through  her  next  script  which  is  titled  thus 
far  "Man  and  Maid."  (I  wonder  what  it 
will  be  about!)  She  certainly  is  a  versatile 
writer. 

Though  her  cheek  has  the  sheen  of  the  crocus 
And  her  trim,  twinkling  calves  are  the  rage, 

When  a  star  just  insists  on  soft  focus 
You  can  bet  she  is  feeling  her  age. 

Two  more  stars  have  ventured  out  of  the 
beaten  path  and  become  different.  Most  of 
this  marrying  and  giving  in  marriage  occurs 


QFive  of  the  screen's  big  league  feminine  scenario  writers 
were  assembled  under  one  roof  when  E<ve  Unsell  staged 
a  Hallowe'en  party  at  her  Hollywood  home. 

The  Writers'  Revue,  the  annual  cleverness  cocktail  of  Hollywood,  has  come 
and  gone  again,  and  this  year  it  was  bigger  and  better  than  ever  with  Alfred 
A.  Cohen  once  more  in  charge. 

Virginia  Pearson  and  Harry  Langdon  in  a  ten-minute  burlesque  on  all  of 
Elinor  Glyn's  timely  successes,  "Three  Weeks,"  "Six  Days,"  "His  Hour"  ran 
away  with  the  show. 

All  of  moviedom  laughed  as  though  their  little  hearts  would  break  at  these 

lines :     ^^^..^^ 

"Has  my  leopard's  skin  come  back 
from  the  cleaners?"  (Vamp  speaking  to 
her  butler  while  making  preparations  for 
the  reception  of  her  Paul.) 

Loud  Laugh  Number  Two  occurred 
when  Langdon  as  Paul  was  embracing 
the  vamp,  and  his  wife  walked  in: 

"I  just  know  you  think  something's 
wrong,"  he  chortled  before  going  on  with 
his  work. 

Ben  Turpin,  Betty  Blythe,  Sophie  Bar- 
nard and  Natalie  Kingston  in  a  take-off 
on  "The  Thief  of  Bagdad"  (quite  a  lot 
of  take-off  as  far  as  Natalie  was  con- 
cerned), also  rang  the  bell. 

Every  one  in  pictures  who  is  anybody 
and  a  lot  of  cash  customers  who  aren't 
were  there.  It  would  take  a  regular  Hol- 
lywooden  "Who's  Who  and  What  of  It" 
to  recount  the  names. 

Every  other  woman  in  the  audience, 
however,  was  wearing  at  least  one  Spanish 
shawl. 

Great  show.  Too  bad  it  couldn't  be 
put  on  the  road  for  the  benefit  of  fan- 
dom. 

Glyn  and  Bare  It 

Right  here  it  seems  appropriate  to 
note  that  the  great  and  only  Elinor 
Glyn  has  abandoned  the  time  element  in 
constructing  those  moving,  low-blood- 
pressure  remedies  of  hers.  She  has 
changed  her  attack  after  successes  with 
"Three  Weeks,"  "Six  Days"  and  "His 


GiThe  alluring  Aileen  Pringle, 
as  she  appears  in  a  scene  in 
"The  Wife  of  the  Centaur." 
Evidently  her  husband  Cen- 
taur in  bathing. 


Q.  Aileen  again  in  the 
same  production  with 
a  Centaur  two  spent  on 
clothes. 


67 


right  in  the  profession  but  Sylvia  Breamer  and  Monte  Blue 
have  done  otherwise. 

On  a  Saturday  a  couple  of  months  ago  Sylvia  slipped  away 
to  Riverside  from  Hollywood  to  wed  Dr.  Harry  W.  Martin. 

On  the  same  day  up  in  Seattle  Monte  Blue  wedded  Tove 
Janson,  daughter  of  Dr.  Eiliv  Janson,  and  not  in  pictures, 
though  very  lovely. 

Blue's  first  wife,  Irma  Gladys,  a  nurse,  was  wooed  and 
won  in  Chicago  by  Monte  Blue  thirteen  years  ago.  She 
was  granted  a  divorce  in  Los  Angeles  about  a  year  ago. 

Dr.  Martin,  a  well-known  physician,  practiced  in  Chicago 
before  locating  here.  Miss  Breamer  came  from  Australia. 
Her  father,  Sir  James  de  Courcey  Breamer,  was,  before  his 
death,  a  commander  in  the  British  Royal  Navy. 

Mrs.  Martin  intends  to  devote  herself  solely  to  being 
Mrs.  Martin.  Although  she  has  been  under  contract  with 
First  National  for  a  long  time  she  made  an  ante-honeymoon 
statement  that  she  was  "through  with  pictures." 


Leon  Errol  as  The  Duke  of  Checkergovinia 
and  Dan  Mason  as  Pops  S/iendorff  in  "Sally.'' 
Those  collapsible  ankles  of  the  Duke's  are  un- 
certain. 


With  all  of  this  recent  filming  of  sea-stuff  in  and  about 
and  out  of  Los  Angeles  Harbor  I  have  often  wondered  what 
the  reactions  of  the  "gobs"  of  the  Pacific  fleet  really  were. 
And  now  I  have  found  out.  A  copy  of  the  U.  S.  S.  Cali- 
fornia Cub,  published  aboard  the  dreadnaught,  has  this  to 
say  anent  cinematic  sailors: 

"Nowadays  when  you  go  up  on  deck  and  see  vandyked 
visage  you  are  not  sure  whether  it  is  Admiral  Ostermoor 
or  bonafide  battler." 


"If  you  see  mess  attendant  choking  strange  staff  officer 
look  around  for  camera  before  doing  anything — he  may  be 
getting  sixteen  dollars  a  day  for  it." 


The  entire  sguad  of  polo  playing  beauties  assemble  for  the  George  Fitzmaurice  production,  "A  Thief  in  Paradise.' 

6S 


Ben  Turpin  and 
his  mail  order 
bride  in  a  new 
Sennett  comedy 
called  "The  Reel 
Virginian.''  Male 
is  correct  —  the 
bride  is  Freddric 
Ko  Vert,  female 
impersonator. 


Sylvia  Breamer 
— has  tved  a 
doctor  and 
swears  she's 
through  with 
pictures  forever. 


"Last  week  0.  0.  D.  (officer  of 
the  deck)  reported  to  sick  bay  after 
movie  chief  petty  officer  and  sailor 
came  aboard  in  pink  hats  (which  photograph  white)." 


"Congress  will  have  to  assign  one  ship  to  detached  duty 
in  Hollywood  as  present  system  of  Mack  Sennett  flag-officers 
is  undermining  morale." 


Loro  Bara  and 
Charlie  O'M  alley, 
little  sister  and 
big  brother,  re- 
spectively, of 
Tlieda  Bara  and 
Pat  O'Mallcy, 
are  the  latest  as- 
pirants for  I  lolly  - 
wood  honors. 
Both  Loro  and 
Charlie  have  im- 
portant roles  in 
Nor  m  a  Tal- 
madge's  latest 
picture,  "The 
Lad}\" 


The  tug  of  baby  fingers  at  her  heart  may  tear  Leatrice 
Joy  from  her  film  career  even  as  matrimony  has  taken 
Sylvia  Breamer  from  the  silver  screen. 

The  beautiful  Lasky  star  now  declares  she  has  only  time 
for  her  baby  girl,  Leatrice,  born  three  months  ago.  shortly 
after  the  end  of  the  Jack  Gilbert-Leatrice  Joy  romance 
became  known. 

"Since  Leatrice  came  I  find  I  think  only  of  her  and  of 
her  happiness,"  the  newest  movie  mother  declares. 

''I  couldn't  think  of  leaving  her  to  go  away  on  those  long 
location  trips.  In  fact  I  hate  to  leave  her  for  a  minute. 
In  comparison  to  this  little  child  my  film  career  seems  of 
little  moment." 

Mrs.  Gilbert  was  loath  to  speak  of  the  shipwreck  of  her 
marital  bark  and,  seeing  her  there  in  her  pretty  Hollywood 
home,  holding  her  babe — and  a  beautiful  madonna  and  child 
picture  they  made — only  a  soulless  wretch  could  voice  a 
query. 

And  I  still  have  a  soul. 


The  beautiful  Katherine  MacDonald.  who  terminated  her 
screen  career  when  she  married  a  Pittsburgh  millionaire 
named  Johnson  almost  two  years  ago,  has  an  equally  beauti- 
ful daughter  who  is  now  two  months  old. 


The  Wampas,  the  organization  of  screen  publicity  men, 
is  about  to  be  stung,  playfully  yet  pleasantly  by  the  Wasps 
— Women's  Association  of  Screen  Publicists — which  has 
just  been  formed.  When  the  Wampas  organized  feminine 
press  agentry  was  excluded  from  membership,  so  the  girls 
up  and  formed  an  association  of  their  own. 

The  Wampas  are  nationally  known  for  their  annual  selec- 
tion of  the  thirteen  "baby  stars."  The  Wasps  will  prob- 
ably select  thirteen  "baby  bimboes"  or  leading  men  each 
year. 

Carolyn  L.  Wagner,  scrivener  for  Mrs.  Wallace  Reid.  is 
president  of  the  Wasps;  Mabel  Lunde  (Regal  Pictures), 
vice-president;  Agnes  O'Malley  (Mack  Sennett),  secretary, 
and  Len  Beall  (Hal  Roach),  treasurer. 

The  Wasps  meet  the  second  Tuesday  of  each  month  at 
the  Writers'  Club.  {Continued  on  page  76) 


6'J 


YLLIS 


SCREENLAND 


G[Paris  has  declared  in  favor  of  leather  for 
country  wear.  This  smart  suit  worn  by  Phyllis 
Haver  with  its  coat  of  leather  is  collared  and 
cuffed  with  leopard  ski?t,  and  the  hat  is  banded 
with  the  same  smart  fur. 


<\"If  one  would  be  really  smart,  one  must  be 
simply  dressed"  says  Miss  Haver.  This  dress 
of  red  and  white  printed  chiffon  manages  to  be 
unusual  in  spite  of  its  simplicity  of  line.  A  black 
velvet  ribbon   tie   is   its   only  ornamentation 


70 


ETS  the  ZASHION 


■■■■»  f30ltQP<-»~ 


These  photographs  o 
MISS  HAVER 

were  taken  expressly  foi 
SCREENLAND 


Gowns,  Hat  and  Coat  worn  by 
Miss  Haver  furnished  by 
Frank t "in  Simon 
&  Co. 


npo  t 

J»-  in 


o  the  movies  is  given  the  determin- 
ing influence  of  our  morals  and 
of  our  manners.  Our  knowledge  of 
the  literary  classics  also  is  lately  being 
gathered  almost  entirely  from  the 
silver  sheet. 

Xor  the  least  interesting  is  the  influ- 
ence that  the  screen  exerts  on  the  fash- 
ions of  the  day.  It  is  the  screen  stars 
who  distribute  the  information  of  the 
latest  in  fashions.  Among  these  none 
is  more  influential,  nor  better  qualified, 
than  delightful  Phvllis  Haver. 


^Another  goivn  worn  by  Miss  Haver  of  flesh  colored  silk 
crepe  is  absolutely  devoid  of  trimming  if  one  excepts 
the  band  of  blond  clipped  ostrich  that  borders  the  front 
panel  that  flares  in  the  accepted  manner. 


Q  George  O'Brien 
Anne  Cornwall 
"The  Roughneck.'' 


ind 


ay 

arion  of  Hollywood 


They  Say — 

"T  may  be  press  agent  stuff,  but  the  latest  is  that  Jack 
Dempsey  and  Estelle  Taylor  are  to  be  co-starred.  No- 
body seems  to  know  where,  when  or  why,  but  the  news 
has  been  spread  around  Hollywood.  Some  one  saw 
them  together  one  night  in  a  New  York  cafe,  and  because 
they  pulled  out  of  the  cafe  before  Ann  Pennington  made 
her  evening  appearance,  folks  think  the  engagement  is  all 
on  again.    Love  never  did  run  smooth,  you  know! 

They  Say — 

Remember  Ella  Hall— perhaps  you've  always  called  her 
"Little  Ella  Hall"?  She  reminds  you  of  a  little  girl  who 
needs  some  one  to  take  care  of  her.  Imagine,  then,  seeing 
a  picture  of  her  on  the  front  page  of  the  newspapers  with 
her  three  children,  ranging  from  four  years  to  fifteen  months 
with  a  big  headline  over  it  reading  ''Mrs.  Emory  Johnson 
Gets  $300  a  week  alimony."  Quite  a  shock.  Everything 
going  so  smoothly,  and  then  this  comes  along  Nobody 
seems  to  know  what  the  trouble  was. 

More  sisters  and  brothers  are  invading  filmland.  An 

72 


announcement  comes  that  Godfrey  Tearle,  brother  of  the 
illustrious  Conway,  has  .accepted  his  first  American  screen 
part  in  Paramount 's  "Salome  of  the  Tenements." 

And  working  in  Norma  Talmadge's  latest  production  are 
two  more — Charles  O'Malley  and  Lora  Bara.  Also, .  if 
you've  seen  Gloria  Swanson's  latest,  "Wages  of  Virtue,", 
perhaps  you've  noticed  the  Moore  baby — Joe:  He's  the 
"New  York  East  Sider"  in  the  picture.  Owen  and  Tom 
are  his  big  brothers. 

They  Say —  | 

Among  other  things,  that  Doug  Fairbanks,  Jr.,  (en- 
joyed himself;  immensely  on  the  "Peter  Pan"  set  at  the 
Paramount  lot.  It  gave  us  a  little  warm  feeling  around  the 
heart,  too,  because  Doug  is  a  peach  of  a  young  fellow,  and 
there's  no  sweeter  girl  in  Hollywood  than  Betty  Bronson. 
It's  great  to  be  seventeen! 

They  Say — 

Rex  Ingram  and  Alice  Terry  are  spending  lots  of  time 
away  from  each  other  lately.    Alice  is  booked  to  make  two 


of  the  soldier  s  Hospitals,  uistnbuted  cigarettes  and  chocolate;,  to  each 
soldier,  and  then  wrote  her  signature,  right  underneath  those  of  the 
Queen  of  Belgium  and  the  Queen  of  Italy,  in  the  famous  gold  book. 
Immediately  the  commandant  exclaimed,  "Now  we  have  a  third  queen 
on  our  book — the  queen  of  the  screen." 

They  Say 

We  hear  that  Milton  Sills  and  Alan  Hale  are  actually  to  direct,  and 
that  Bert  Lytell  announces  his  intention  of  taking  up  the  megaphone. 

Who  are  the  directors  of  tomorrow?  We  might  ask  who  are  the 
LOGICAL  directors  of  tomorrow?  Are  they  the  assistant  directors  of 
today  or  the  actors,  of  today? 

Check  them  over,  and  you'll  find  a  surprising  fact  that  most  of  the 


CLJane  Constance  Loew  combines  the  two 
greatest  film  families.  Her  grandfathers  are 
Adolpli  Zukor  of  Famous  Players  on  one  hand 
and  Marcus  Loeiv  of  the  Metro-Goldivyn- 
Mayer  on  the  other. 

pictures  in  Hollywood,  and  Rex  has  left  for  Spain 
to  make  his  "Mare  Nostrum." 

They  Say— 

After  finishing  his  present  picture.  Harold  Lloyr1 
is  going  to  pack  wife,  baby,  bag  and  baggage  and 
take  a  trip  abroad  on  a  nice  vacation,  which  he 
deserves.  There's  another  great  idea  in  it,  too! 
It's  going  to  be  their  belated  honeymoon,  and  will 
give  the  baby  a  chance  to  tell  her  acquaintances, 
with  no  scandal  attached,  that  she  went  with  her 
mother  and  father  on  their  honeymoon.   Not  so  bad ! 

Gloria  Swanson  is  making  the  well-known  hit  in 
Paris.   A  story  is  being  told  of  how  she  visited  one 


CI  Wallace  Beery  picking  on  little  Raymond  Halton.  They  are  on  the  schooner 
where  Paramount  is  taking  scenes  for  "The  Devil's  Cargo."  Burly  Wallace 
seems  to  think  he  is  the  Thief  of  Bagdad. 


CI  Pola  Negri  ivith  her  di- 
rector, Raoul  Walsh, 
going  on  location  to 
make  "East  of  Suez." 
This  is  the  first  time 
Pola  ever  zvent  a-field. 


directors  of  today  were  the  actors  of 
yesterday,  and  that  the  directors  who 
were  assistants  are  few  and  far  be- 
tween. Of  the  assistant  directors 
who  are  now  directors,  we  call  to 
mind  Victor  Fleming,  Millarde  Webb. 
William  K.  Howard,  Cullen  Tate, 
Frank  Urson,  Sam  Wood.  Eddie 
Sutherland.  Some  who  are  now  di- 
recting have  been  writers  —  Paul 
Bern,  Rupert  Hughes,  Frank  Tuttle. 
Rob  Wagner,  William  de  Mille.  Rex 
Ingram,  Reginald  Barker.  But  the 
big  bunch — the  overwhelming  num- 
ber— have  been  actors — Yon  Stro- 
heim,  Ingram,  Alan  Crosland.  Cecil 
B.  de  Mille,  Joseph  Henebery, 
James  Cruze,  Brenon.  Lubitsch. 
Melford,  Marshall  Neilan.  Hobart 
Henley,  D.  W.  Griffith — and  so  on 
almost  without  end.  It  looks  as  if 
the  actors  of  today  will  be  the  direc- 
tors of  tomorrow! 


Q  Bill  Russell  and  Tom  Moore — "down  on  the  farm 
making  Warner  Brothers  classic,  "Thin  Ice." 


Another  tale  of  woe — poor  little  Creighton  Hale.  Creigh- 
ton  never  seemed  to  us  like  a  big  brute  of  a  man  who  would 
hurt  or  abuse  a  poor  little  wife,  but  Mrs.  Hale  served 
divorce  papers  on  the  grounds  that  she  was  insufficiently 
cared  for,  etc.,  etc.,  etc.  Whereupon  Creighton  filed  a 
cross-complaint  telling  his  woes!  We're  not  exactly  inter- 
ested in  how  it's  going  to  come  out,  but  we  do  say  this — there 
are  a  couple  of  little  Hales  who  are  two  of  the  best  speci- 
mens of  American  childhood  you'd  ever  want  to  see.  They're 
a  chip  off  the  old  block  when  it  comes  to  looks,  and  if  Hale 
is  the  only  one  who  really  ever  took  care  of  them — as  he 
says  in  his  complaint — he  has  certainly  done  a  good  job 
and  ought  to  get  the  kids. 


They  say,  if  you  want  to  be  right  in  the  swim  and  up  to 
the  mark  in  parties,  here's  an  idea — give  a  "Ben  Hur"  party. 
That's  the  very  latest,  according  to  Sid  Grauman.  Quite 
an  affair  he  made  of  it.  too.  It  was  given  to  Marcus  Loew 
at  the  Biltmore  Hotel  in  Hollywood,  and  some  cast  was 
at  the  table!  It  was  the  most  unique  thing  of  the  season. 
Each  guest  wore  a  regular  Roman  style  costume,  the  waiters 
were  dressed  a  la  Roman,  the  decorations  were  all  from  the 
days  of  Mr.  Hur.  and  chariots  drawn  by  many  horses  were 
the  chief  design  of  the  "eats."  The  entire  service  was  gold 
(Sid  says  eleven  different  pieces  were  stolen  and  he's  still 
looking  for  them.  He  should  pick  his  crowd  more  carefully.) 
One  cake  weighed  seventy-nine  pounds,  and  had  a  chariot 


C  Marion  Davies,  Mrs.  Don  Lee  and  Anna  0.  Nilsson  visit  'Alma  Rubens  o: 
the  set  during  the  shooting  of  "Gerald  Cranston's  Lady." 


74 


•with  horses  and  driver  on  the  top  (I'd  swear  it  was  Ramon 
driving).  Sid,  by  the  way,  sent  the  cake  to  the  Orphan's 
Asylum  the  next  day,  which  wasn't  so  bad  for  the  kids 
and  makes  us  think  that  Sid's  heart  is  in  the  right  place. 
Buster  Keaton  and  Leon  Errol  did  an  acrobatic  act  which 
was  the  hit  of  the  evening,  and  Buster  didn't  crack  a  smile, 
either.  Among  "those  present"  were  Marcus  Loew,  Norma 
Talmadge,  Joseph  Schenck,  Natalie  Talmadge,  Buster  Kea- 
ton, Charlie  Chaplin,  Marion  Davies,  Cecil  de  Mille,  Jeanie 
Macpherson,'  Leon  Errol.  Mildred  Zukor  Loew,  Pauline 


Betty  Blythe  is  back  at  the  Fox  studio  for  the  first  time 
since  the  filming  of  "The  Queen  of  Sheba."  She's  been  in 
Europe  making  pictures  for  two  years  and  has  just  re- 
;urr,ed  to  the  Fox  lot  to  make  "The  Folly  of  Vanity." 

They  'Say — 

La  Belle  Negri  and  Rod  LaRoque  continue  to  have  their 
ups  and  downs.  It  most  likely  relieves  the  monotony 
of  the  otherwise  dull  day!  They  both  must  miss  Lubitsch, 
who  just  directed  them  in  "Forbidden  Paradise."  Lubitsch 


Q  Tom  Mix  making  "Dick  Turpin"  paying  Buck  Jones  one  dollar  when  Buck  had  borrowed  a 
costume  and  mingled  with  the  crowd  in  a  Dick  Turfiin  set.  Buck  was  working  just  around 
the  corner  in  "The  Arizona  Romeo''  at  the  William  Fox  JVest  Coast  Studios. 


Starke.  Marshall  Neilan  and  Mr.  and  Mrs.  Harold  Lloyd 
(the  baby  wasn't  invited  and  she  mentioned  how  hurt 
she  felt). 


Cecil  de  Mille  thinks  he  has  another  find  in  Lillian  Rich, 
who  plays  one  of  the  principal  parts  in  his  latest  production, 
"The  Golden  Bed."  In  fact,  he  goes  as  far  as  saying  that 
she's  the  biggest"  find  since  Gloria  Swanson.  With  her 
blond  wig,  he  assures  us  that  she  is  the  most  alluring, 
charming,  winsome  miss  he's  seen  in  many  a  day.  If  you 
lived  in  Hollywood,  you'd  know  that  those  words  from 
"C.  B."  are  like  an  all-week  shower  of  gold! 


cf  the  magnificent  smile  and  foreign  accent!  Rod  was 
"Rot."  but  it's  impossible  to  put  on  paper  the  drawly  ac- 
cent of  Pola's  name.  "Like  so.  Rot.  Yes?  No?"  and 
instead  of  the  usual  "camera,"  the  quick  "Awrighd!  Gaw! 
.>hood!" 


Marian  Nixon  has  made  good.  The  six  months'  optional 
clause  of  her  contract  with  Fox  is  up  and  the  organization 
has  signed  her  for  a  long  period  of  time.  Upon  her  small 
shoulders  falls  the  coveted  role  of  "the  masked  rider"  in 
Tom  Mix's  new  starring  picture,  "Riders  of  the  Purple 
Sage."    We  wish  her  luck. 


73 


76 


SCREEN  LAND 


Martlia  W  i  n  g 
came  from  Vir- 
ginia to  teach  the 
bathing  c/irl  Polo 
players  ho<u;  to 
ride. 


Walter  Hiers—fat,  fa- 
mous and  a  fixture — ■ 
and  we're  glad  of  it. 


Warner  Brothers  have  come  out  for 
cleaner  pictures.  They  have  installed  a 
Turkish  bath  at  the  studio  for  their  nine 
stars. 


Little  brothers  and  sisters  of  the  big 
stars  have  a  way  of  getting  on  in  Holly- 
wood though  their  relationships  to  the 
filmy  famous  often  prove  to  be  real  han- 
dicaps. Charlie  O'Malley.  brother  of 
Pat,  and  Loro  Bara,  sister  of  Theda,  had 
small  parts  in  Norma  Talmadge's  "The 
Lady,"  which  Frank  Borzage  directed 
from  Frances  Marion's  script  for  Joseph 
M.  Schenck  and  First  National. 


Louise  Glaum  is  back  in  Hollywood 
with  the  glint  cf  battle  in  her  eye  to 
essay  a  "come-back"  in  pictures.  Ill- 
health  forced  her  to  abandon  her  screen 
career  two  years  ago.  but  when  she 
walked  into  my  office  recently  and  an- 
nounced her  plans  for  a  film  renaissance 
she  looked  better  than  ever.     She  was 


Screenland  Gossip — continued  from  pag 


genuinely  popular  and  has  a  wealth  of 
stage  experience  as  a  background  for  fur- 
ther additions  to  her  screen  triumphs  of 
the  future. 


Rupert  Julian  is  hard  at  work  out  at 
Universal  making  "The  Phantom  of  the 
Opera."  in  which  Mary  Philbin  will  be 
starred  with  Lon  Chaney,  the  master  of 
make-up.  Chaney  has  evolved  a  make- 
up for  this  picture  which  is  being  kept 
a  dark  secret.  He  applies  it  at  home  and 
rides  to  the  lot  masked.  The  production 
is  to  be  a  very  elaborate  one,  and  the 
early  rushes  are  full  of  fine  photography 
and  thrills. 


Pola  Negri  is  getting  plump,  not  too 
plump,  y'under  stand.  She  left  a  set  of 
"East  of  Suez"  the  other  day  to  greet  me 
at  the  Lasky  lot.  She  likes  the  Maugham 
story  which  Raoul  Walsh  is  directing. 

When  her  romance  with  Charlie  Chap- 
lin was  at  its  height  she  said  that  love 
made  one  thin. 

Since  then  Rod  LaRocque  has  been 
reported  as  the  great  co-median's  succes- 
sor in  her  affections. 

But  Pola  Negri  is  getting  plump,  not 
too  plump,  y'understand. 


Colleen  Moore's  next  picture  will  prob- 
ably be  a  cinematization  of  "Sally."  the 
stage  vehicle  in  which  Marilyn  Miller 
(Mrs.  Jack  Pickford)  rode  to  nation- 
wide success. 


"A  Thief  in  Paradise,"  which  George 
Fitzmaurice  made  for  Samuel  Goldwyn. 
contains  something  new  in  the  shape  of 
thrills,  shapely  thrills  as  it  were — a  polo 
match  between  eight  girls  attired  in 
bathing  suits. 

Martha  Wing,  a  scion  of  one  of  the 
F.  F.  V.'s,  who  began  to  ride  "hosses" 
as  soon  as  she  was  weaned,  taught  the 


69 

girls  to  ride  and  play  the  mallet  game. 

She  is  the  wife  of  Paul  Wing,  retired 
army  artillery  captain,  who  is  now  busi- 
ness manager  for  Victor  Fleming,  Lasky 
director. 


Harold  Lloyd  has  started  production 
on  a  college  picture  which  should  be  a 
"wow."  It  will  have  to  be  if  the  mark 
set  by  --Hot  Water"  is  to  be  surpassed. 
Lloyd,  who  is  now  garnering  from  $25,- 
000  to  $40,000  a  week  from  past  ven- 
tures, is  still  the  same  nice  chap  he  was 
when  he  didn't  have  a  dime. 

Raoul  Walsh  will  probably  direct 
Douglas  Fairbanks  in  the  latter's  next 
two  pictures.  Fairbanks  is  now  writing 
the  script,  an  original,  with  the  same  lo- 
cale as  "The  Mark  of  Zorro,"  a  rooting, 
tooting,  melodrama. 


Seena  Owen  is  to  make  her  screen 
renaissance  as  a  James  Oliver  Curwood 
heroine  in  "The  Hunted  Woman,"  which 
Jack  Conway  will  direct  for  Fox. 


Svend  Gade  is  directing  Virginia  Valli 
in  "Seige,"  by  Samuel  Hopkins  Adams, 
for  Universal. 


Making  -The  Golden  Bed"  has  been 
one  of  the  most  arduous  tasks  which  has 
ever  fallen  to  the  lot  of  Cecil  B.  dc 
Mille.  The  lives  of  forty-three  mem- 
bers of  the  company  were  endangered 
when  they  were  caught  in  a  blizzard  while 
taking  scenes  on  Mount  Rainier,  tower- 
ing Washington  peak.  The  swirling 
snows  caught  the  company  ten  miles  from 
its  base  at  Paradise  Inn.  and  equipment 
valued  at  $22,000  was  lost. 

Some  of  the  women  were  sc  exhausted 
on  the  return  that  it  was  necessary  for 
the  men  to  carry  them  in  to  the  Inn. 
Camera  tripods,  film  boxes,  chairs  and 
everything  which  would  burn  were 
thrown  to  the  flames  of  the  fires  kindled 
to  keep  members  of  the  company  from 
freezing  to  death  until  the  storm  lifted 
enough  to  allow  the  adventurers  to  begin 
fighting  their  way  out. 

The  company  included  Dc  Milb,  Li- 
lian Rch.  Theodore  Kosloff.  Robert 
Cain  and  Assistant  Director  Frank  Urson 
and  a  number  of  lesser  luminaries,  all  of 
whom  escaped  injury  but  received  a  se- 
vere fright. 


In  dosing,  it  might  be  said  that  any 
one  can  make  a  picture  but  thc~e  arc 
onu;  a  darn  few  to  buy  it. 

Hoping  you  are  the  same.  I  am 
Sincerely, 

DOC. 


xJMae  ^Murray 

"Circe,  the  Enchant- 
ress" will  next  appear 
as  "The  Merry  Widow.'' 


In  the  September  issue  of  SCREE N- 
LAND,  Mae  Murray  offered  a  prize 
for  a  slogan  which  would  describe 
"Circe,  the  Enchantress."  We  take 
pleasure  in  announcing  that  the 
prize  has  been  awarded  to : 


Miss  Frances  Riddle, 

384  Spring  Street, 

Atlanta,  Georgia. 


Full  details  concerning  the  contest,  the  winner,  and  hove  the  prize 
■was  awarded  will  appear  in  the  next  issue  of  this  magazine. 


The  letters  in  the  Harold  Lloyd  contest  which 
closed  recently  are  being  carefully  exam- 
ined, and  announcement  of  the 
award  will  be  made  as 
soon  as  possible. 


78 


SCREEN  LAND 


Reviews  In  Brief—Continued  from  page  49 


Baxter  and  Walter  Hiers  are  seen  in  the  important  mas- 
culine roles  and  all  do  splendidly. 

We  think  Christine  is  decidedly  worth  seeing. 

K — THE  UNKNOWN — Universal — And  how  Percy  Mar- 
mont plays  the  mysterious  "K!"  Nobody  else  could 
have  played  it  that  way.  Universal  has  made  a  swell 
adaptation  with  a  cast  that  enacts  it  without  affectation. 
And  seeing  it  there  in  a  first  run  house,  not  a  fan  was 
stirring,  not  even  a  mouse.  The  reason  nobody  was  stir- 
ring, or  even  coughing,  was  because  i-K"  held  them  so 
completely  enthralled  that  not  a  single  bon-bon  was 
passed  for  fear  of  missing  some  of  Mary  Roberts  Rine- 
hart's  story.    And  so  back  to  our  poetry. 

He  (Percy  Marmont)  hired  him  a  nurse,  charming  of 
manner  and  soothing  of  verse  (poetic  license)  who 
promptly  made  eyes  at  the  boys  in  the  ward,  mixed  up 
the  bottles  and  gracious,  migawd!  killed  three  of  the 
patients,  rest  they  in  peace;  and  Marmont  was  sought 
soon  by  the  police. 

And  so  the  plot  of  A" — The  Unknown  gets  thicker  and 
thicker.  The  doctor  is  forced  to  flee  from  the  long  arm 
of  the  law,  and  he  turns  up  in  a  small  town  as  a  meter 
reader  for  the  gas  company.  It  is  there  he  meets  the 
girl  (Virginia  Valli),  falls  in  love  while  still  hiding  his 
identity  which  he  reveals  only  when  he  is  compelled  to 
perform  an  emergency  operation.    Now  more  poetry. 

So  you  are  the  doctor,  Virginia  didst  say;  the  famous 
physician  known  only  as  K;  well,  well,  ain't  you  the  sweet 
one  to  be  hiding  away,  reading  gas  meters  for  three  bucks 
a  day? 

And  so  they  live  happily  ever  after.  And  we  had  spent 
a  right  pleasant  evening  in  the  theatre. 

MY  HUSBAND'S  WIVES — Fox — Most  of  your  picture 
stars,  when  they  have  scaled  the  heights  of  fame,  begin 
looking  around  for  a  publisher  to  immortalize  their  ar- 
tistry further  in  Moroccan  bound  autobiographies  with 
hand  painted  illustrations.  Not  so  Barbara  La  Marr. 
She  chose,  as  her  contribution  to  the  literature  of  the 
world,  a  scenario  written  with  her  own  dainty  fingers 
and  a  pencil  chewed  author-style  by  the  most  screen- 
perfect  mouth  in  Hollywood.  Barbara  called  it  My  Hus- 
band's Wives  and  William  Fox  thought  the  title  good 
enough  to  retain. 

Vale  Harvey  {Shirley  Mason)  didn't  care  particularly 
about  her  husband's  past.  Yeh,  she  loved  him.  she  did. 
So  when  she  invited  Marie  Wynn,  an  old  school  chum. 
(Evelyn  Brent)  to  visit  her,  she  couldn't  have  known 
that  Marie  was  the  first  wife  of  her  own  deah  William 
(Bryant  Washburn).  The  guest,  conniving  little  devil  that 
she  was,  immediately  made  preparations  to  vamp  Bill 
back  to  hfir  bosom  in  which  (the  censors  must  be  salved ) 
she  doesn't  quite  succeed.  And  so  another  love  nest  was 
made  safe  for  domesticity. 

THE  SIREN  OF  SEVILLE — Bunt  Stromberg— So  they 
took  the  $50,000  and  staged  a  bull  fight.  But  the  bull 
couldn't  get  a  horn  in  edgewise  to  gore  the  hero  in  the 
climax,  so  Priscilla  Dean  jumped  down  into  the  arena 
and  wielded  the  fatal  thrust.  The  game  over,  the  fans 
swarmed  to  the  subway  station  and  dusk  fell  over  the 
arena  where  the  lovers  stood  whispering  post-mortems 
about  the  fight. 

The  Siren  of  Seville  is  really  a  delightful  romance  of 
castinettes  and  scarlet  tinted  sashes,  credible  enough  if 


you've  never  seen  a  bull  fight.  But  how  Dolores  (Pris- 
cilla Dean)  could  down  a  half  ton  of  frenzied  beef  with 
a  delicate  thrust  of  a  more  delicate  rapier  is  more  than 
we  could  comprehend  in  a  single  sitting.  However,  this 
film  is  charmingly  enacted  before  a  background  of  beau- 
tiful settings.  And  the  photography  is  enough  to  make 
even  a  motorman's  daughter  lean  back  and  dream  of 
lovely  nights  in  Madrid,  with  a  quarter  moon  riding 
lazily  in  the  skies  and  a  velvet  jacketed  dandy  strumming 
a  guitar  under  her  balcony.  What  chance  has  the  in- 
credibility of  the  films  in  a  setting  like  that? 

Allen  Forrest  plays  Galkto,  a  Madridian  commuter, 
who  aspires  to  become  the  greatest  matador  in  all  Spain. 
He  is  jealous  of  Cavalo's  (Stuart  Holmes)  attentions  to 
Dolores,  and  so  events  lead  up  to  a  terrible  tragedy. 
How  wondrously  does  Holmes  his  villainy  perform! 

If  you  can  dream  like  the  motorman's  daughter,  you'll 
like  this  film  more  than  we  did.    We  never  dream. 

IN  EVERY  WOMAN'S  LIFE — First  National— In  every 
woman's  life,  so  nurse  used  to  tell  us  as  she  droned  us 
off  to  sleep  at  candle-lighting  time,  there  are  three  dis- 
tinct episodes  in  the  natural  development  of  feminine 
maturity.  The  first  stage  or  episode  is  puppy  (some- 
times  referred  to  as  calf)  love  which  usually  puts  in  an 
appearance  at  the  tender  age  of  fourteen  or  fifteen  bay- 
leafed  summers.  In  this  case  the  man  must  be  young, 
handsome  and  possess  more  of  the  qualifications  of 
Apollo  than  Midas.  The  second  stage  is  Romance  or 
what  is  usually  palmed  off  as  romance.  The  stage  for 
this  act  must  be  set  in  golden  splendor  wjith  a  Rolls 
Royce  parked  in  every  corner  and  costly  drapings  on  the 
windows  to  keep  out  the  light  of  cold,  cruel  facts  of 
Life.  To  qualify  in  this  stage  the  man  must  be  a  heavy 
sugar  baby.  The  final  episode  is  the  dullest,  the  drabbest 
of  the  lot.  It  is  called  Marriage.  To  interpret  his  role 
here,  the  man  must  have  no  especial  qualifications.  Like 
the  act  itself,  he  need  be  just  a  dull,  drab  yokel  who 
would  look  well  sitting  high  up  on  the  seat  of  a  Ford 
roadster. 

All  the  foregoing  is  better  told  in  a  single-sub-title 
early  in  In  Every  Woman's  Life.  The  film  is  a  drama 
with  a  decided  melodramatic  tendency  and  a  ghost  of  a 
moral  always  lurking  in  the  shadows  just  outside  the 
camera  lines.  The  cast  reminds  one  of  those  one  act 
sketches  at  the  Annual  Equity  Ball — they're  all  stars.  Vir- 
ginia Valli  and  Lloyd  Hughes  are  the  leads,  and  Marc 
McDermott,  George  Fawcett.  Vera  Lewis,  Ralph  Lewis. 
Stuart  Holmes  and  John  Sainpolis  make  up  the  support. 

You  may  safely  expect  this  film  to  entertain  you  well. 

I  HE  TORNADO — Universal — King  Baggot  has  turned  out 
a  lot  of  celluloid  thrillers  during  his  sojourn  at  Universal 
City,  but  there  is  more  than  a  reasonable  doubt  that  he 
has  ever  given  Carl  Laemmle  a  more  powerful,  more 
thunderous  piece  of  screening  than  The  Tornado,  from 
the  play  by  Lincoln  Carter. 

Of  course  the  screen  version  of  Lincoln  Carter's  play  is 
much  superior  to  the  original  stage  production.  All  the 
facilities  of  the  Big  U  studio  have  been  brought  into  play 
to  make  this  the  most  sensational  cinema  of  the  season. 
House  Peters  plays  a  lumber  camp  boss  as  if  he  had  been 
a  jack  in  the  Oregon  timberland  all  his  life,  and  Ruth 
Clifford  couldn't  have  been  improved  upon  for  the  lead- 
ing feminine  role.  Dick  Sutherland  plays  heavy — and 
you  know  Dick. 

See  this  film  and  bring  hooks  to  hold  on  to  the  seat. 


SCREENLAND 


79 


Life  Among  the  Beauties — continued  from  page  29 


tame  Rex,  the  King  of  Wild  Horses,  in 
the  next  Roach  horse  opera  to  be  di- 
rected by  Fred  Jackman. 

Lotus  Thompson  is  a  curvy  young 
thing  from  Australia,  the  island  contin- 
ent which  will  some  day  gain  fame  be- 
cause it  is  the  home  of  Ena  Gregory, 
another  one  of  Roach's  perishing 
blondes  who  has  more  than  a  way  with 
her. 

Martha  Sleeper  is  a  slip  of  a  girl  of 
fourteen,  according  to  the  vital  statistics, 
but  at  least  eighteen  when  her  effect  on 
the  blood  pressure  is  considered. 

Katherine  Grant  is  a  lass  with  hair  the 
color  of  cornflowers,  eyes  like  periwinkles 
and  dimples  which  inspire  one  to  chuck 
her  under  the  chin  and  say  "kitchy- 
kitchy!" 

And  Blanche  Mehaffey!  Demure- 
Blanche  Mehaffey!  Her  curves  put  a 
parabola  to  shame.  She  was  in  the 
Follies,  the  Ziegfeld  Follies,  for  more 
than  two  reasons.  Blanche  is  very  re- 
served and  possesses  more  than  a  modi- 
cum of  that  thing  the  old-fashioned  dra- 
matic critics  used  to  refer  to  as  histri- 
onic talent.  But  why  speak  of  that? 
Lots  of  girls  can  act. 

Beth  Darlington  is  just  a  slip  of  a  girl 
and  since  she  is  now  in  Honolulu  one 
longs  to  be  a  beach-comber.  She's  been 
doing  snappy  one-reelers  with  Charlie 
Chase,  nee  Parrott,  under  the  direction 
of  Leo  McCarey,  which  seem  fated  to 
knock  photoplay  fandom  off  its  seat. 

After  being  exposed  to  such  a  bunch 
of  charmers,  watching  a  bunch  of  hired 
hands  at  work  sort  of  palled. 

It's  a  tough  life  making  comedies.  Ask 
Leo  McCarey,  the  young  barrister  re- 
ferred to  above.  Between  shots  he  and 
Chase  and  the  other  yokels  in  the  cast 
indulge  in  giving  birth  to  a  lot  of  blue 
notes  in  barber  shop  harmony. 

"When  we  run  out  of  gags,  we  sing," 
McCarey  explained  when  some  alleged 
harmony  was  interrupted. 

"We're  singing  most  of  the  time,"  he 
added. 

Which  is,  of  course,  just  so  much  airy 
persiflage  because  Hal  Roach  isn't  exactly 
a  philanthropist  nor  is  he  conducting  an 
old  soldier's  home,  and  McCarey's  thou- 
sand foots  are  as  fast  in  action  as  the 
meter  on  a  taxicab. 

These  one-reelers  have  not  been  re- 
leased yet  but  they  are  on  the  way. 

The  Spat  Family,  as  portrayed  by 
Laura  Roessing,  Sidney  D'Albrook  and 
Frank  Butler,  Our  Gang,  Rex,  the  Mor- 
gan stallion;  the  Dippy -Doo-Dads,  the 
Arthur  Stone  two-reelers  and  Glenn  Tryon 
are  other  Roach  activities. 

The  Wet  Blanket  Club  broadcasts  the 
report  that  Hal  is  finding  Glenn  "tryin'  " 


as  a  comedian  but  film  unwound  in  the 
studio  projection  room  indicates  that  the 
Tryon  young  man  may  be  another  Har- 
old Lloyd  from  a  bank-account  viewpoint. 
"The  White  Sheep"  and  "The  Fighting 
Orioles"  are  two  six-reelers  which  uphold 
Roach's  reputation  as  a  picker  of  more 
than  sorts. 

H.  M.  "Beanie"  Walker,  title  editor 
of  his  and  many  other  lots,  is  one  of 
Roach's  wise  selections.  Hal  took  him 
from  the  sport  department  of  the  Los 
Angeles  Examiner  and  made  a  regular 
weekly  depositor  out  of  Beanie.  Walker 
is  responsible  for  the  laughy  titles  grac- 
ing the  Roach  products,  but  you'd  never 
guess  it  to  see  him.  He  looks  like  a 
prosperous  shoe-store  proprietor.  I  ex- 
pected to  meet  a  walking  lexicon  of  quips. 
But  outwardly  his  drollery  is  portrayed 
only  by  the  size  of  the  hod  he  smokes 
and  the  fact  that  when  last  seen  he  was 
taking  cover  in  his  office  with  a  well-fed 
tabby  cat  caught  up  under  his  arm  after 
a  brief  introduction  during  which  he  re- 
garded me  blankly. 

And  so  to  the  Buster  Keaton  laugh 
corral  over  on  Lillian  Way  after  bidding 
all  the  Roach  beauties  adieu. 

There  I  found  Buster  of  the  congealed 
countenance  in  the  midst  of  his  gag  men, 
Jean  Havez,  Lou  Anger  and  Clyde  Bruck- 
man,  figuring  out  laughs  for  "Seven 
Chances." 

A  sign,  "We  Want  Laughs,"  on  the 
door  of  the  conference  room  challenged 
attention,  but  didn't  mean  anything  be- 
cause the  titter-tailors  were  busily  en- 
gaged in  figuring  out  their  own. 

The  parley  was  about  as  full  of  humor 
as  watching  Dad  affix  his  John  Hancock 
to  a  first  mortgage  on  the  old  family 
homestead  for  more  than  he  could  ever 
pay.  I  had  the  feeling  that  if  any  one 
laughed  he  would  be  banished  at  once  so 
I  sneaked  out  into  the  kitchen  and  talked 
to  Buster's  saddle-colored  chef. 

I  am  convinced  now  that  Keaton  never 
laughs.  It  is  evident  that  he  runs  his 
company  from  soup  to  nuts;  that  he 
speaks,  and  they  all  hop.  He  was  giving 
directions  for  the  next  day's  work.  He 
was  all  words,  and  his  colleagues  all  ears. 
So  I  fled. 

Over  at  the  picturesque  Mack  Sennett 
studio  on  Glendale  boulevard  I  found 
the  comedy  mills  grinding  fast  and  furi- 
ously. 

King  Mack,  himself,  was  directing  the 
inimitable  Ben  Turpin  in  a  scene  with 
Louise  Carver.  They  were  all  working 
hard.  Ben  was  putting  over  some  of  his 
burlesque  in  a  way  that  got  a  snicker 
out  of  me  but  not  even  a  flicker  from 
Sennett. 


They  rehearsed  the  scene  seventeen 
times  without  shooting  it  once,  and  I 
staggered  on  to  the  next  stage  where 
the  Harry  Langdon  company  was  at  work 
in  a  bar-room  set.  The  atmosphere  was 
about  as  peppy  as  the  prop  liquor  which 
Harry,  as  the  bar-keep,  was  peddling  over 
the  mahogany. 

Harry  is  a  wistful  chap,  a  hard  worker, 
and  zealous  in  his  efforts  to  please.  He 
gave  me  the  impression  that  he  was  al- 
ways expecting  some  one  to  sneak  up 
behind  him  and  give  him  a  kick  in  the 
bar-room. 

On  the  next  stage  Eddie  Cline  was 
putting  Ralph  Graves  and  Natalie  King- 
ston through  the  hoops  of  humor.  Nat- 
alie is  a  much  larger  girl  than  one  would 
suppose  and  I  saw  her  turn  forty  front 
flips  in  the  honky-tonk  cabaret  scene  then 
being  pursued  without  even  heaving  a 
sigh.  One  might  say  that  Natalie's  daily 
turn-over  is  large. 

Ralph  Graves  did  not  awaken  in  my 
sad,  young  heart  any  wild  desire  to  ap- 
plaud him  for  any  reason.  He  impressed 
me  as  being  a  young  man  very  much  sat- 
isfied with  himself.  He  certainly  looked 
it.  The  only  recommendation  he  seemed 
to  have  was  that  the  bathing  beauties 
have  been  assigned  to  his  group. 

The  Sennett  "all-star"  group,  under  the 
direction  of  Del  Lord,  was  slap-sticking 
right  next  door  to  the  Cline  company. 
Sid  Smith,  Billy  Bevan,  Vernon  Dent,  J. 
J.  Richardson,  Andy  Clyde  and  Tiny 
Ward  were  turning  out  a  picture  in  which 
"black-eyes"  seemed  to  be  the  motif. 
Each  one  had  a  shiner.  The  acquisition 
of  each  mournful  optic  made  up  the  plot. 

I  tried  to  find  out  the  titles  to  the 
material  then  being  run  through  the  Sen- 
nett mirth  mangles  without  avail.  I  was 
told  that  they  make  them  first  and  name 
them  later. 

Then  Madeline  Hurlock  slithered  onto 
the  set,  thereby  turning  the  visit  that  I 
was  then  regarding  as  a  total  loss  into  a 
regular  Roman  holiday.  Though  it  bums 
her  up  to  be  so  complimented,  Mile. 
Madeline  is  of  the  stuff  of  which  "vam- 
pires" are  made.  She  is  the  type  which 
makes  battleships  as  much  of  a  necessity 
today  as  they  were  in  the  days  of  Helen 
of  the  other  Troy,  not  the  place  where 
the  collars  are  made. 

She  has  an  eye  which  surveys  life 
coolly  and  a  manner  of  ultra-collection 
plainly  showing  that  she  has  herself  in 
hand  and  the  world  by  the  tail.  Her 
reserve  is  terrific.  If  one  should  yell, 
"Fire!     Run  for  your  life!"  on  the  set 


where  she  is 


ung  she  would  probably 


crawl  mellifluously :    "What  a  bore!" 

There  '.z  cne  thing  about  her  I  cannct 
understand,  however. 

She  has  a  low  blood-pressure. 


/ 

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Helen  Lee  Worthing — continued  from  page  37 


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gram,  and  so  Helen  was  engaged  for  the 
Follies. 

A  short  time  later  Cosmopolitan  Pro- 
ductions wished  to  find  the  most  beauti- 
ful girls  in  New  York  to  appear  with 
Lionel  Barrymore  in  "Enemies  of 
Women."  Mr.  Hearst  phoned  Mr.  Zieg- 
feld.  Five  girls  were  sent  over  to  help 
out  at  the  largest  salary  ever  paid  extra 
girls — thirty-five  dollars  a  day.  Helen 
did  a  little  bit  with  Mr.  Barrymore — but 
that  little  bit  was  enough  to  convince 
Cosmopolitan  that  Helen  had  something 


else  besides  a  perfect  profile.  She  was 
signed  to  play  Mrs.  Loring  in  Cosmopoli- 
tan's next  picture.  "Janice  Meredith." 

After  looking  over  many  actresses 
capable  cf  the  part  of  "Wander  Von 
Cluck"  in  "The  Swan."  Dimitri  Buch- 
owetzki,  director  for  Famous  Players- 
Lasky,  engaged  Helen  to  play  this  part. 
It  is  a  part  which  I  am  sure  will  bring 
her  great  success  in,  motion  pictures. 
All  her  charm  and  beauty  are  brought  otic 
in  this  role,  and  I  feel  sure  the  public 
will  love  her  just  as  much  as  I  do,  and 
who  knows  her  so  well. 


What  An  Assistant  Director  Thinks — continued  from  page  33 


reads  it  aloud  anyway!  The  point  is  that 
it  seldom  occurs  to  the  spectator  that 
the  thing  requires  infinite  planning,  as 
well  as  the  most  careful  photography. 

That's  neither  here  nor  there,  of  course. 
The  Sweet  Young  Thing  was  hanging 
upon  my  words.  I  answered  her  with 
appropriate  dignity: 

"Me?    I'm  an  Assistant  Director!" 

"I  never  heard  of  them,"  she  shrugged. 
"What  do  you  do?" 

That  gave  me  my  chance.  "In  the 
first  place  "  I  began. 


"Oh,   I'm  so  sorry! 


she  murmured. 
Thank  you  so 


"There's   my  partner! 

much,  Mr. — er  ?" 

And  she  was  gone,  leaving  me.  like 
the  Ancient  Mariner,  with  my  story  still 
untold. 

I  wasn't  surprised,  though,  at  her  igno- 
rance. Very  few  people  appreciate  or 
understand  the  position  of  an  Assistant 
Director  of  motion  picture  productions. 
In  fact,  I  presume  there  are  many  who 
do  not  know  that  such  an  animal  ex- 
ists. But  he  does — though  sometimes 
barely. 

He  has  a  great  deal  to  do  with  the 
picture.  I  am  in  a  position  to  know. 
I've  been  one  for  a  number  of  years — 
off  and  on.  The  "off"  times  were  when 
I  was  looking  for  another  job  in  the 
same  line. 

The  very  word  "Assistant"  is  mislead- 
ing. For  that  matter,  it  is  in  almost  any 
line  of  work — as  many  a  good  man  has 
found  out  to  his  sorrow.  An  Assistant 
doesn't  assist :  he  does  things !  Some- 
body else  gets  the  credit  and  most  of 
the  money.  All  the  Assistant  has  to  do 
is  the  work. 

His  Business  the  Details 

It  is  so  in  the  movies,  at  any  rate.  The 
Assistant  has  to  concern  himself  with 
the  details.  All  the  preparatory  work 
falls  to  his  share.  He  has.  first,  to  see 
that  the  members  of  the  cast  are  at  the 
studio  and  made  up  in  time.  Next  he 
must  know  that  all  the  sets  are  ready, 
that  the  camera-man  is  on  the  job  and 
has  the  lights  for  the  scene  set.     It  is 


his  business  to  see  that  the  property- 
man  has  all  the  accessories  which  will 
be  needed.  There  is  no  aspect  of  the 
production  of  a  motion-picture  which 
the  Assistant  can  afford  to  overlook. 

When  the  Director  arrives  everything 
must  be  in  readiness  so  that  he  has 
nothing  to  think  of  except  the  actual  re- 
hearsing and  taking  of  the  scene.  In 
many  cases  the  Assistant  even  conducts 
the  preliminary  rehearsals.  Eventually, 
no  doubt,  he  will  be  obliged  to  conduct 
them  all,  and  take  the  picture,  too1 
What  good :  is  an  Assistant,  anyhow,  if 
not  to  do  all  the  work? 

As  things  stand  at  present,  however 
the  Director — when  he  arrives  upon  the 
scene — is  content  to  find  everything  in 
readiness.  rTw.work,  then,  is  to  concen- 
trate his  attention  and  exercise  his  talent 
upon  the  acting  and  the  development  of 
the  story.  He  pays  no  attention  to  the 
details — except  when  something  has  been 
forgotten.  Then  he  exercises  another  of 
his  talents — upon  the  poor  .\ssistantl 

As  soon  as  the  "shooting"  for  the  day- 
has  been  finished,  the  Director  may  step 
into  his  palatial  limousine.   He  is  through. 

No  so  the  Assistant.  He  must  call 
the  people  needed  for  the  next  day's  work. 
He  must  make  out  lengthy  reports  as 
to  the  amount  of  work  performed  during 
the  current  day.  He  is  the  "finisher" 
as  well  as  the  "starter."  Do  you  see 
now  what  I  mean  when  I  say  he  must 
think  of  everything? 

Many  a  night  have  I  stayed  up  until 
two  in  the  morning  when  I  wanted  to 
retire  at  nine;  all  because  the  particular 
actor  or  actress  needed  for  the  follow- 
ing day  was  taking  a  little  recreation  at 
a  theatre  or  party  and  I  could  not  reach 
them  on  the  phone.  But  they  must  be 
reached  so  that  they  would  be  on  time 
in  the  morning.  I  have  phoned  to  one 
number  as  many  as  a  dozen  times  in  an 
evening  hoping  I  could  give  them  their 
call  for  the  morrow  so  that  I  could  go 
to  bed.  An  Assistant's  work  is  like  a 
woman's;  it  is  never  done. 

This  general  and  detailed  supervision 
of  the  work,  moreover,  is  not  all  that  -lie 


-Ul  ,0'3SOl!i -J  iUlCJa9U..t> 


SCREEN  LAND 


KAY  GYNT 

Popular  Sftvedis/i  actress  deserted  the  stellar  role  of  Ernst  Rolfs 
Stockholm  Re-vue  and  came  to  Broadway.  It  is  said  Miss  Gynt 
.:i.l  grace  the  First  National  lot. 


Assistant  is  called  upon  to  do.  In  taking 
a  crowd-scene,  for  instance,  the  Assistant 
directs  the  crowd;  the  Director  concen- 
trates upon  the  work  of  the  principals. 
Handling  crowds  is  very  trying.  The 
performers  are  less  skilled  than  the  prin- 
cipals are  likely  to  be ;  it  happens,  more- 
over, that  unless  the  members  of  a  crowd 
are  given  individual  attention,  and  each 
one  of  a  group  assigned  "business"  of  his 
own,  they  will  all  be  found  to  be  doing 
the  very  same  thing.  The  skillful  manip- 
ulation of  a  crowd  is  one  of  the  most 
1  difficult  tasks  in  the  whole  field  of  motion- 
photography.  Yet  every  Assistant  must 
know  how  to  perform  it.  The  Director 
merely  casts  his  eye  over  the  perfected 
rehearsal.  If  the  general  effect  is  good 
the  scene  is  taken. 

I  remember  once  in  Cuba  handling  a 
crowd.  We  had  a  very  unusual  experi- 
ence. We  had  a  large  fair  scene  and  we 
had  engaged  a  couple  of  hundred  people 


to  participate — to  walk  among  the  booths 
pretending  to  purchase  the  different  ar- 
ticles with  which  we  had  stocked  them. 
There  were  toys,  candy,  balloons,  fruits 
and  cakes.  Through  our  interpreter — 
the  crowd,  of  course,  only  understood 
Spanish — we  thought  they  had  been  given 
to  understand  what  we  wanted  them  to 
do.  It  was  a  tremendous  job  because  all 
my  instructions  had  to  be  interpreted  to 
the  individual  grcups  in  the  crowd.  How- 
ever it  was  finally  accomplished  under  a 
blazing  sun  and  I  informed  the  Direc- 
tor that  all  was  ready  for  the  rehearsal. 
So  we  stood  back  on  a  high  platform  to 
watch  the  general  effect.  We  were  far 
enough  away  not  to  be  able  to  see  details. 
The  rehearsal  progressed  and  the  effect 
was  good.  But  when  it  was  finished  we 
discovered  that  the  crowd  had  absolutely 
stripped  every  booth.  The  pretending 
had  not  been  made  plain  to  them,  and 
they  thought  that  they  could  just  help 


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themselves — and  they  sure  did.  There 
was  not  a  thing  left  anywhere.  All  we 
could  see  were  moving  jaws  enjoying 
our  ''props."  What  we  wanted  them  to 
do  when  we  took  the  scene  they  had 
done  during  the  rehearsal  when  the  camera 
was  not  grinding.  We,  very  naturally, 
all  blew  up  and  the  air  was  a  mighty  deep 
shade  of  blue  for  quite  some  time.  They 
luckily  didn't  understand  what  we  were 
saying  or  they  would  most  likely  have 
started  a  fight.  Well,  that  little  incident 
delayed  us  for  hours  while  a  new  supply 
of  ''props"  were  bought  and  fixed  up  in , 
the  booths — not  to  mention  the  extra 
added  expense.  Handling  crowds  is  no 
bed  of  roses,  especially  under  those  con- 
ditions. 

Also,  when  the  Director  is  busy  with 
important  scenes  with  only  the  star  or 
a  couple  of  the  principals,  the  Assistant 
goes  out  on  location  and  takes  the  lesser 
important  scenes  of  the  production  or 
busies  himself  with  scenes  in  another  set 
in  the  studio. 

He  is  the  first  on  the  job  in  the  morn- 
ing and  the  last  to  leave  it  at  night. 
But  like  the  assistants  in  other  lines  it 
is  very,  very  often  that  only  the  name 
of  the  boss  is  on  the  door. 

However,  the  better  Directors  are  be- 
ginning to  appreciate  the  services  ren- 
dered by  a  valuable  Assistant  and  in- 
clude him  in  the  credit  for  the  produc- 
tion. But  several  of  the  Directors  with 
reputations  allow  no  name  to  appear  ex- 
cept their  own  and  when  an  Assistant 
stands  outside  a  theatre  watching  streams 
of  people  going  in  to  see  a  production 
to  which  he  contributed  largely  by  han- 
dling the  vast  crowds  and  attending  to 
the  many  things  necessary  and  reflects 
upon  the  fact  that  only  one  name  is  given 
credit  for  this  magnificent  production, 
then,  "what  an  Assistant  thinks"  is  not 
so  good  or  fit  to  print. 

If  several  Directors  knew  what  their 
Assistants  thought  I'm  afraid  the  Assist- 
ants would  lose  their  jobs;  and  also,  if 
some  Directors  would  ask  their  Assistants 
what  they  thought  about  a  scene  that 
was  being  taken,  they  might  get  sugges- 
tions which  would  be  of  value  both  to 
the  Director  and  the  scene. 

In  fact,  I  know  of  one  Assistant,  a 
red  headed  chap,  quite  naturally  called 
"Red,"  who  was  asked  by  his  Director 
what  he  thought  of  a  certain  scene  dur- 
ing the  rehearsal  and  Red  told  him  that 
he  would  do  it  differently.  Well,  the 
Director  told  him  to  go  ahead  and  take 
the  scene  the  way  he  thought  it  ought 
to  be.  He  did  and  the  scene  is  in  the 
picture  today,  and  it  is  one  of  the  very 
recent  big  productions,  starring  Marion 
Davies. 

We  are  slowly  coming  into  our  own. 
While  the  Assistant  Director  was  for- 
merly merely  a  leg  boy  to  fetch  and 
carry  he  is  developing  into  a  sort  of  vice- 


president — a  man  capable  of  taking  aver 
the  reins  of  production  and  finishing  a 
picture  should  anything  happen  to  the 
Director. 

The  wise  Director  needs  such  a  man 
as  a  safeguard  to  his  own  reputation; 
the  producing-company  needs  him  as  a 
factor  in  protecting  its  investment.  Pro- 
ducers are  also  beginning  to  appreciate 
the  Assistants,  because  that  is  the  field 
from  which  the  crop  of  future  Directors 
is  coming. 

It  is  a  fascinating  business.  And — to 
my  mind  at  least — no  other  part  of  the 
work  is  quite  so  interesting  as  that  of 
the  production  end. 

I  have  spoken  of  its  drawbacks  at  some 
length.  But  would  I  leave  it  and  go  to 
any  other  work?    I  would  not! 

We  have  plenty  of  hard  work  but  we 
do  get  some  wonderful  laughs.  One  of 
the  funniest  things,  to  me,  took  place 
during  the  filming  of  a  feature  comedy. 
The  scene  called  for  our  star  to  stand 
against  a  board  and  have  a  knife  thrower 
hurl  long  knives  at  him  and  outline  his 
body.  It  was  the  last  day  of  work  on 
the  picture ;  the  star  was  leaving  for  loca- 
tion the  following  day,  and  a  farewell 
party  had  been  planned  for  the  evening 
Some  friends  arrived  at  the  studio  to 
take  the  star,  and  brought  the  prelimina- 
ries for  the  party  on  their  hip.  When 
we  were  ready  to  take  the  knife  throwing 
scene  there  was  quite  a  bit  of  anti-Vol- 
stead  aboard.  However,  the  never-fail- 
ing quality  of  an  actor  came  to  the  fore 
— the  performance  must  go  on.  So  he 
stood  up  and  allowed  the  knives  to  be 
hurled  at  him.  As  one  would  just  miss 
his  face,  he  would  casually  look  at  it 
from  an  unseeing  eye — one  of  the  funni- 
est expressions  I've  ever  seen.  We  had 
originally  intended  using  a  "double"  for 
safety's  sake  but  anti-Prohibition  had  pro- 
duced a  streak  of  extra  daring  in  our  star. 
However,  our  biggest  laugh  came  later 
when  he  saw  himself  on  the  screen  hav- 
ing the  knives  hurled  at  him.  He  nearly 
died — and  so  did  we.  All  he  could  say 
was.  "Say,  did  I  do  that!" 

If  you  are  an  Assistant  Director  you 
have  unequaled  opportunities  for  seeing 
the  world.  You  travel  incessantly:  this 
picture  may  have  to  be  filmed  in  the 
North  Woods — the  next  one,  perhaps  in 
Rome. 

You  meet  people  of  every  sort  and 
condition.  You  have  an  almost  infinite 
variety  of  work.  There  are  problems,  of 
course,  to  be  solved;  there  is  always  plenty 
to  do.  These  things  aren't  drawbacks — 
they  are  advantages.  You  are  out  of 
doors,  in  healthful  surroundings,  for  a 
large  part  of  the  time. 

But  there  is  one  thing  more  important 
than  any  of  these  others — or  than  all  of 
them  together.  It  Is  work  which  stim- 
ulates the  imagination.  You  create — 
and  the  power  of  creation  is  God's  gift 


SCREENLAND 


33 


How  I  Earn  $90  a  Week 
With  a  Pencil ! 

By  Raymond  Brennan 


"O 


We 


ne  hour  more  and  I  get  my 
weekly  pay  check.  Another 
$90.  Another  payment  made 
possible  on  my  new  home.  Another  tidy 
sum  added  to  my  savings  account.  Hon- 
estly it  seems  like  a  wonderful  dream. 
Only  a  short  time  ago  I  was  a  $22-a-week 
stock  clerk,  and  now — but  let  me 
tell  you  how  it  stared. 

For  two  years  I  was  buried  behind 
a  mountain  of  boxes— checking,  list- 
ing and  adding  till  I  was  blue  in  the 
face.  The  job  paid  fairly  well  and 
it  was  steady  work — but  the  raises 
in  salary  were  rare  indeed.  And 
with  a  wife  and  child  to  support  the 
future  didn't  look  very  promising. 

But  good  jobs  are  hard  to  get — 
especially  when  you  have  no  special 
training.  So  I  stuck  to  the  one  I 
had  and  would  have  remained  there 
yet,  if  it  hadn't  been  for  my  boss, 
had  a  confidential  heart-to-heart  talk  one 
day  and  one  thing  he  mentioned  struck 
right  home — it  was  the  turning  point  of 
my  life. 

"Ray,"  he  said,  ''the  only  way  you 
can  climb  out  of  a  routine  job — the  only 
way  you  can  earn  real,  big  money — the 
only  way  you  can  ever  be  independent — 
is  by  getting  into  an  uncrowded  field 
where  competition  doesn't  kill.  The  rea- 
son you  haven't  advanced — the  reason 
your  pay  is  low,  is  that  there  are  thou- 
sands of  other  men  ready  to  fill  your 
place  should  you  quit.  Choose  the  work 
you  like,  learn  to  master  it — that's  the 
secret  of  success." 

I  never  thought  of  it  before  in  that 
light.  Choose  the  work  I  like?  Yes, 
but  what  do  I  like? 

I  found  the  answer  that  night.  My 
little  son  coaxed  me  to  tell  him  a  story. 
So  I  took  him  on  my  knee  and  started. 
In  a  little  while  we  were  out  in  the 
woods  with  the  bears  and  tigers — and 
across  the  sea  to  the  French  clowns. 
And  unconsciously,  to  make  my  story 
more  realistic,  I  made  rough  little  draw- 
ings. Really  it  was  fun.  I  enjoyed  it. 
And  then  it  dawned  upon  me — why  not 
become  an  artist?  They  earned  big 
money.    Perhaps  I,  too,  could  learn. 

The  rest  is  easy.     That  very  evening 


I  mailed  a  coupon  to  the  Washington 
School  of  Art.  And  now — well  I  seem 
to  live  in  a  dream.  No  more  long 
hours — no  more  strenuous  work — no 
more  heart  breaking  fear  of  getting  fired. 
And  best  of  all  I  earn  $90  a  week — and 
I've  only  just  begun  to  climb! 

Fit  Yourself  Now  for  a  $5,000- 
$10,000  Job  in  Com- 
mercial Art 

The  story  of  Raymond  Brennan  is  the 
story  of  thousands  of  other  men  who 
are  now  commanding  big  incomes  in  com- 
mercial art.  There's  no  reason  why  you 
too  can't  do  as  well.  It's  easier  than 
you  imagine.  Newspapers,  advertising 
agencies,  printers,  business  concerns — 
all  are  eager  to  pay  good  salaries  to  men 
who  can  draw.  Artists  get  as  high  as 
$1,000  for  a  single  drawing — and  $100 
to  $200  a  week  is  not  uncommon.  Car- 
toonists and  designers  command  almost 
any  salaries  they  want.  And  just  think, 
you  earn  while  you  learn  as  many  of 
our  students  are  doing. 

Easy  Way  to  Become  an  Artist 

By  means  of  a  wonderfully  simple 
method  recently  perfected  you  can  eas- 
ily become  an  artist,  in  a  surprisingly 


short  time.  You  can  learn  Illustrating, 
Cartooning  or  Commercial  Art  and  earn 
a  splendid  income.  You  learn  by  mail 
— yet  you  receive-  personal  instruction 
from  one  of  America's  foremost  Commer- 
cial Artists — a  man  who  has  produced 
artists  like  Frank  Godwin  and  "Wynn  ' 
Holcomb.  It's  almost  like  having  a  pri- 
vate instructor  at  your  elbow.  For  you 
receive  his  personal  criticism  and  correc- 
tions, just  as  if  you  were  in  his  studio. 
Before  you  know  it,  you're  able  to  make 
pictures,  cartoons,  designs — without  any 
help.  You'll  be  surprised  how  rapidly 
you'll  be  able  to  qualify  for  a  big-paying 
position ! 

FREE  Book  Tells  All 

"New  Easy  Way  to  Become  An. 
Artist" — our  beautifully  illustrated 
Free  Booklet — explains  this  amazing 
method  in  detail.  It  tells  you  about 
our  school,  our  students,  what  they  have 
accomplished  through  this  easy  way,  and 
what  you  can  accomplish  yourself.  It 
outlines  for  you  all  the  charm  and  fun 
of  life  as  a  commercial  artist.  It  tells 
you  all  about  the  really  unusual  oppor- 
tunities calling  to  you  today  and  how 
you  can  answer  the  call. 

Everything  you  want  to  know  about 
this  "work  that  is  play"  and  how  you 
can  get  into  it,  you  will  find  in  this  book. 
Send  for  >.  today.  Just  fill  in  and  clip 
coupon  be.\  w  and  mail  it  to  us  now! 

Washington   School    of  Art 


1115-15th  St. 


Room  6812B 


N.W. 

Washington,  D. 


C. 


Washington  School  of  Art 

Room  6812B,  ni5-i5th  St.,  N.W. 

Washington,  D.  C. 

Please  send  me  your  Free  book  "New 
and  Easy  Way  to  Become  An  Artist" — an.l 
tell  me  about  your  easy  method  of  instruc- 
tion. 


Name 

Address 
Citv  ... 


;Mr.,  Mrs,  or  Miss) 


State 


84 


SCREEN LAND 


*100  a  Week 

"Wouldn't  you  like  to 
earn  that  much,  too?" 

"I  know  you  would,  Bob — -think  what 
it  would  mean  to  us!  It  worries  me  to 
see  you  wasting  the  best  years  of  your 
life  when  you  could  make  them  count  for 
so  much. 

"Can't  you  see  it,  Bob?  Don't  you  see 
that  the  reason  men  get  ahead  is  because 
they  train  themselves  to  do  some  one 
thing  just  a  little  better  than  others? 

"If  the  International  Correspondence 
Schools  can  raise-  the  salaries  of  other 
men,  they  can  'raise  yours."  If  -they  can 
help  other  men  to  win  advancement  and 
more  money,  they  can  help  you,  too.  I 
am  sure  of  it. 

"Don't  let  another  year  slip  by  and 
leave  you  right  where  you  are  to-day. 
Let's  at  least  find  out  how  the  I.  C.  S.  can 
help  you.  Let's  mark  and  mail  this  cou- 
pon right  now!" 

" INTERNATIONAL  CORRESPONDENCE  SCHOOLS 

Box  2365-B,  Scranton,  Penna. 
Without  cost  or  obligation  on  my  part,  please  tell  mo 
how  I  can  qualify  for  the  position  or  in  the  subject  before 
which  I  have  marked  an  X: 

BUSINESS  TRAINING  COURSES 


□  Salesmanship 

□  Advertising 

□  Better  Letters 

□  Show  Card  Lettering 

□  Stenography  and  Typing 

□  Business  English 


□  Business  Management 

□  Industrial  Management 

□  Personnel  Organization 

□  Traffic  Management 

□  Business  Law 

□  Banking  and  Banking  Law 

□  Accountancy  (including  C.P.A.)  OClvil  Service 

□  Nicholson  Cost  Accounting         □  Railway  Mall  Clerk 

□  Bookkeeping  □  Common  School  Subjects 

□  Private  Secretary  □  High  School  Subjects 

□  Spanish  fj  French  □Illustrating 

TECHNICAL  AND  INDUSTRIAL  COURSES 


□  Electrical  Engineering 

□  Electric  Lighting 

□  Mechanical  Engineer 

□  Mechanical  Draftsman 

□  Machine  Shop  Practice 

□  Railroad  Positions 

□  Gas  Engine  Operating 

□  Civil  Engineer 

□  Surveying  and  Mapping 
□Metallurgy       □  Mining 

□  Steam  Engineering  □  Radio 


n  Architect 

□  Architects'  Blue  Prints 

□  Contractor  and  Builder 

□  Architectural  Draftsman 
p  Concrete  Builder 

□  Structural  Engineer 

B Chemistry  □  Pharmacy 
Automobile  Work 

□  Airplane  Engines 

□  Agriculture  and  Poultry 

□  Mathematics 


Name  

Street 
Address.. 


City.. 


..State.. 


Occupation  

Persons  residing  in  Canada  should  send  this  coupon  to  the 
International   Correspondence  Schools  Canadian,  Limited, 
Montreal,  Canada 


HOPED 

My  Big  Three  Part  Treatment  is  the 
ONLY  ONE  that  gives  FULL 
DEVELOPMENT  without  bathing, 
exercises,  pumps  or  other  danger- 
ous absurdities.  I  send  you  a 
GUARANTEED  TWO  DOLLAR 

14-DAY 
TREATMENT 

If  you  send  a  DIME  toward  expenses. 
(A  Lar^e  Aluminum  Box  of  my  Won- 
i  der  Cream  included.)  Plain  wrapper. 
/IS  IT  WORTH  10c  TO  iTOU? 
If  not.  your  dime  back  by  first  mail. 
Address  NOW,  with  tea  cents  only 

Madame  D.  M.  Williams,  Buffalo,  N.  ¥. 


It  is  the  gift  which  makes  progress  pos- 
sible. Everything  in  the  world — from  a 
pin  to  a  sky-scraper — has  to  be  imag- 
ined before  it  can  be  made. 

And  the  work  on  a  good  motion-pic- 
ture calls  for  the  utmost  in  imagination. 
Everything  must  be  foreseen-.  And  every 
day's  work  is  different.  You  can't  fall 
into  a  rut :  there  are  no  ruts  in  the  movies, 
as  there  are  in  other  businesses.  Your 
imagination  is  working  all  the  time. 

It  needs  to  be,  if  you're  an  Assistant, 
and  happen  to  have  forgotten  one  single 
detail!  Facing  an  irate  Director,  in  such 
a  case,  demands  more  concentrated  and 
imaginative  plausibility  than  anything 
else  I  can  think  of! 

So  to  any  one  with  any  imagination  I 
would  think  that  the  production  end  of 
the  motion  picture  industry  would  be 
a  greater  magnet  than  the  acting,  but  so 
far  it  isn't.  Of  course,  the  lure  of  the 
acting  is  dollars,  but,  still,  there  are  not 
so  many  Directors  in  the  poor  house;  and 
that  is  the  goal  of  those  on  the  produc- 
tion staff — to  be  a  Director,  I  don't  mean 
the  poor  house.  And  there  are  more 
photographs  and  publicity  published  about 
actors  than  the  staff  behind  the  camera 
and  that  is  an  attraction.  We  all  like 
to  see  our  face  or  name  in  print.  (Sure 
— that's  why  I  am  writing  this.)  But 
for  imagination,  behind  the  camera  is 
the  place.  That  is  the  place  that  ap- 
pealed to  me  and,  though  starting  origi- 
nally as  an  extra  man  when  the  daily 
wage  was  two  dollars,  sometimes  five.  I 
kept  my  eyes  open  for  an  opportunity 
to  get  on  the  production  staff  and  eventu- 
ally got  it.  It  means  plenty  of  hard  work 
with  no  stipulated  hours — we  often  work 
twenty-four  at  a  stretch — but  the  thrill 
attendant  thereto  cannct  be  beaten. 


When  you  are  thrilied  by  scenes  you 
see  upon  the  screen  did  you  ever  realize 
that  possibly  in  the  taking  of  that  scene 
the  company  and  staff  were  more  thrilled 
than  you?  We  often  have  to  do  things 
over  and  over  agaia  in  order  to  get  them 
right,  and  we  get  the  thrill  each  time 
while  you  get  it  only  once.  We  have 
perfectly  good  red  blood,  too.  and  it 
races  through  our  veins  very  quickly  at 
times,  for  remember  we  are  dealing  with 
reality  while  you  are  thrilled  by  the 
flashing  photograph  upon  the  screen. 

And  think  of  the  handling  of  hundreds 
of  troops  in  battle  scenes — angry  crowds 
in  strike  scenes!  Wliere  can  one  get  a 
thrill  like  that  in  any  other  business? 
Or  flying  in  the  clouds  to  obtain  pic- 
tures of  an  airplane — riding  on  a  plat- 
form attached  to  the  front  of  a  racing  auto 
or  at  the  side  of  a  roaring  locomotive! 

And  think  of  having  to  figure  out  how 
to  handle  without  an  interpreter  a  couple 
of  hundred  foreign  cavalry  when  they 
do  not  know  a  word  of  English  and  you 
know  about  three  words  of  their  language, 
as  was  done  in  "The  Bandelero."  Or 
how  to  feed  this  same  crowd  thirty  miles 
from  a  restaurant  when  the  Director  sud- 
denly decides  that  the  work  will  not  per- 
mit the  company  and  troops  returning  to 
town  in  time  for  lunch  as  previously  ar- 
ranged. 

These  thrills  and  tests  for  the  imagina- 
tion, together  with  many  others,  are 
almost  daily  occurrences  in  the  life  of  an 
Assistant  Director. 

It's  the  greatest  game  in  the  world! 

Anyhow,  that's  the  way  one  Assistant ; 
Director  looks  at  it.  even  if  Sweet  Young 
Things  at  dances  are  not  interested  in  his 
conversation. 


That  Hard  Hearted  Gal — continued  from  page  30 


"Walking  is  too  expensive." 

"Don't  worry.  I  have  a  few  dollars 
left,"  laughed  Barbara. 

Nevertheless,  we  took  a  taxi. 

Scarcely  had  we  found  a  table  in  the 
tea  room,  when  a  young  woman  ap- 
proached us.  Something  in  her  face 
warned  me  that  here  was  another  touch 
for  the  always-generous  Barbara. 

"Oh,  Bobbie,"  gushed  the  visitor.  "I 
called  you  up  and  the  maid  said  you 
had  come  to  the  Plaza,  so  I  rushed  right 
down  here.  There's  something  awfully 
important.     I  want  

I  looked  at  Barbara.  Her  hands  again 
instinctively  moved  toward  her  purse. 

"Why,  Mabel,  what  is  it?  Anything 
wrong?"  Barbara's  voice  registered  acute 
sympathy. 

"Not  with  me,"  the  girl  hastened  to 
say,  "but  I  just  knew  you'd  like  to  con- 
tribute to  a  fund  for  the  home  for  crippled 
children.  Jane  and  I  have  just  come  from 
there  and.  oh,  those  poor,  kiddies,,. need 


so  much — toys  and  books  and  every- 
thing." 

The  girl  drew  such  a  heart-rending 
picture  that  even  I  was  wondering  how 
much  of  my  next  week's  salary  I  could 
part  with.  The  effect  on  Barbara  can 
readily  be  imagined. 

"Isn't  that  dreadful."  she  murmured. 
"I'll  send  you  a  check.  You  know  I'm 
usually  hard-boiled  about  these  things, 
I've  been  approached  so  often,  but  in  a 
case  like  this — well,  it's  different.  Don't 
you  think  so?"  She  turned  to  me  ap- 
pealingly. 

"Sure,"  I  agreed.  I  saw  that  I'd  never 
get  any  information  from  Barbara  on 
"The  Second  Chance,"  for  my  interview 
was  being  too  constantly  broken  into  by 
this  charitable  streak  of  hers.  But,  after 
all,  isn't  this  qualify  of  Barbara's  a 
"story"  in  itself? 

To  my  mind  here  indeed  is  the  es- 
sence of  generosity — so  sincere,  so  nat- 
ural that  it  is  practically  second  nature 


SCREENLAND 


owtowin 
^hold  lov< 


"I  love  you!"  When  a  girl  hears  those  three 
little  words  whispered  in  her  ear  by  the  "only 
man  in  the  world,"  her  supreme  moment  has 
come.  She  has  won  his  heart.  All  her  dreams, 
her  hopes,  her  longings,  have  ended  happily. 
She  stands  on  the  threshold  of  womanhood  with 
the  love  of  a  good  man  locked  in  her  bosom. 
Happy,  happy  girl! 


B 


that 


UT  unfortunately,  many  girls  never 
experience  such  bliss.    They  wait 
for  their  "Dream  Man,"  but  he 
never  comes.    It's  a  starting  truth 
every  year   a  million  marriageable 
•  men  have  four  million  girls  from  whom  to 
choose  a  mate. 

Then,  too,  many  an  innocent  girl  ■  has 
1een  led  to  undreamed-of  happiness  by 
these  three  little  words  "I  love  you'  only  to 
learn  later  that  the  man 
was  using  her  as  a  play- 
thing, a  passing  fancy. 
Those  three  little  words 
may  lead  to  infinite 
happiness  or  a  broken 
heart.  What  are  the 
motives  behind  them? 
You  must  know  and  you 
can  know  if  you  are 
familiar  with  the  rules 
,  of  the  fascinating  game 
of  love. 


You  can't  afford 
to  lose 

Many  broken  hearts, 
wrecked  fortunes,  sui- 
:ide  and  ruin — all  caused 
by  men  and  girls  play- 
ing the  game  of  love 
without    knowing  the 

?  rules.  Love  is  a 
dangerous  game  if  you 

;  do  not  know  its  rules. 

-  Those  who  know  the 
rules  are  rewarded  with 
happiness  and  success. 
You  play  the  game  of 
love — what  do  you  know 
about  it? 

Love  problems 
solved 


What  da  you  know 
about  love? 


Sana  Swain,  a  recog- 
nized authority  on  af- 
fairs of  the  heart,  gives 
:'ne  necessary  advice  to  ~ 
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The  test  of  true  sympathy  is  in  not 
realizing  that  one  is  sympathetic. 

This  is  undoubtedly  the  secret  of  Bar- 
bara La  Marr's  instantaneous  success  in 
pictures.  As  she  herself  says,  half  ex- 
cusing her  tender-heartedness.  she's 
human. 

The  human  touch  is  a  quality  that 
registers  on  the  silver  sheet  more  than 
any  other.  Audiences  might  not  be  able 
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terfeited. You  either  have  it  or  not. 
Few  persons  possess  it  to  the  extent  that 
Barbara  La  Marr  does. 

Later,  when  we  had  returned  to  her 
apartment  and  Barbara,  true  to  her  word, 
had  despatched  a  check  for  her  friend's 
pet  charity,  I  teased  her  about  it. 

"Your  complex  will  leave  you  too  poor 
to  buy  that  Simplex  you're  contemplat- 
ing," I  warned. 

"I'll  let  you  in  on  the  inside  facts  of 
this  soft-heartedness  business  of  mine," 
she  confided.  "I'm  not  such  an  easy 
mark  as  my  friends  think  I  am.  I  have 
a  peculiar  disposition.  When  I  actually 
see  distress  it  worries  me  until  I  do  what 


I  can  to  help.  And  one  of  my  rules  of 
life  is  to  avoid  worry. 

"Worry  doesn't  help  matters.  It  only 
gives  you  gray  hairs  and  wrinkles  and  a 
sour  disposition.  I  never  worry  about 
my  own  affairs."' 

"Well,"  I  said,  thinking  of  the  cold 
hard  winter  that's  coming  on,  "suppose 
the  movies  suddenly  stopped  moving  and 
you'd  be  out  of  luck  and  cash  and  then 
you'd  have  to  worry." 

"Not  me."  returned  Barbara  confi- 
dently. "I  earned  my  living  before  I  ever 
saw  a  studio." 

What  would  you  do?"  I  asked  inter- 
estedly. 

"Well,  for  one  thing.  I  used  to  be  a 
dancer.  I'm  sure  I  could  do  it  again. 
If  I  suddenly  found  myself  out  of  pic- 
tures I'd  go  to  Europe  and  begin  all  over. 
I  haven't  always  had  what  I  wanted  in 
this  world.  I  guess  that's  why  I  feel 
sorry  for  other  people." 

But  there  is  no  chance  of  Barbara  La 
Marr's  having  to  look  about  her  for  an- 
other profession.  Her  popularity  as  a 
movie  star  is  too  well  assured. 

And  as  long  as  she  has  the  quality  of 
feeling  sorry  for  other  people  the  movie 
public  will  like  her  too  well  to  let  her 
disappear  from  the  screen. 


A  He-Man  Hero — continued  from  page  21 


arbitrary  slaughtering  of  his  name.  Be- 
cause a  newspaper  paragrapher,  in  striv- 
ing for  humor,  had  called  him  Charles 
de  Roquefort,  and  had  likened  him  to 
the  cheese,  the  powers-that-be  decreed 
that  no  longer  should  the  famous  French 
star  use  the  name  which  he  had  adorned 
in  France;  it  should,  instead,  because  of 
the  unfortunate  American  sense  of 
humor,  be  de  Roche!  And  de  Roche  it 
is — a  new  name  to  be  blazoned  on  the 
tablets  of  fame. 

"I  turned  my  ambition  to  learning 
English.  I  vowed  I  would  not  let  my- 
self be  handicapped  forever  by  mere 
words.  And  now  I  speak  English — you 
see!  Not  so  perfectly  yet,  but  I  can 
always  find  three  words  which  I  think 
express  the  idea,  and  you  can  take  your 
choice  of  the  best  one!" 

Except  for  a  very  broad  accent  his 
English  is  good.  His  choice  of  words 
is  exceptional,  because  of  his  determina- 
tion to  find  three  words  to  fit  every 
idea.  And  he  can  talk  as  fast  and  as 
fluently  as  if  English  were  his  native 
tongue. 

The  first  year  and  a  half — the  extent 
of  his  contract  with  Famous  Players- 
Lasky — was  not  a  happy  period  for  the 
Frenchman.  He  labored  angrily  against 
being  represented  as  a  successor  to  Val- 
entino. He  is  not  a  Valentino.  He  gives 
the  Latin  sheik  full  credit  as  an  actor  and 
as  a  gentleman,  but  he  does  not  wish  to 
imitate  him.     Far  from  it!     The  ambi- 


tion of  Charles  de  Roche  is  boundless. 
He  would  no  more  consider  being  an 
understudy  for  another  personality  than 
he  would  permit  himself  to  languish  in 
a  German  prison. 

We  all  know  the  mutual  disappoint- 
ments suffered  by  Famous  Players-Lasky 
and  de  Roche,  as  a  result  of  their  con 
tract.  De  Roche  was  kept  down.  He 
has  had  only  one  big  part  under  the 
Paramount  banner — in  The  Law  of  the 
Lawless.  He  stole  the  picture  from  the 
star,  Dorothy  Dalton.  and  theatres  in- 
sisted on  co-starring  him.  Then  he  was 
given  the  role  of  the  •'heavy"  in  The 
Cheat.  He  had  never  played  a  heavy 
before  in  his  life,  he  says.  In  France 
he  was  the  ideal  lover.  The  Cheat  was 
a  flop.  Pola  Negri,  another  imported 
star,  was  at  her  worst.  The  story, 
warmed  over  from  a  previous  Lasky  suc- 
cess, with  Sessue  Hayakawa  doing  notable 
work,  was  somehow  devitalized. 

In  The  Ten  Commandments,  the  "suc- 
cessor to  Valentino"  was  given  a  role 
which  suited  him  gorgeously — that  of  the 
Pharaoh — and  he  made  good  every  prom- 
ise which  he  had  given  in  The  Law  of  the 
Lawless;  but  after  all  the  role  was  a 
minor  one,  and  had  to  be  cut  unmerci- 
fully to  make  room  for  the  vast  amount 
of  material  which  had  been  so  prodigally 
shot  by  Cecil  de  Mille  in  an  effort  to 
make  this  the  outstanding  picture  of  the 
age. 


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SCREENLJND  tells  more 
about  the  films  than  any  other 
magazine.  You  will  enjoy  your 
movie  evenings  more  if  you 
read  SCREENLJND. 


In  Shadows  of  Paris,  a  mediocre  pic- 
ture which  confirmed  our  worst  suspi- 
cions that  Pola  Negri  was  not  what  she 
had  been,  Charles  de  Roche  as  the 
apache  stood  out  like  a  ray  of  brilliant 
sunshine  in  a  cobwebby  cellar.  Playing 
second  fiddle  to  la  Negri,  he  managed 
again  to  commit  grand* larceny;  he  stole 
the  picture. 

And  then,  to  his  vast  relief,  Charles 
de  Roche's  contract  with  Lasky  expired, 
and  he  became  a  free  lance  artist.  He 
could  pick  his  pictures,  always  providing 
there  was  a  bid  for  his  services.  His 
first  picture  on  the  new  basis  was  Love 
and  Glory.  He  played  opposite  Madge 
Bellamy,  and  at  last  de  Roche  had  the 
opportunity  which  had  been  denied  him. 

.  But  still  de  Roche  had  not  won  a  big 
fight  in  America.  Victory  came  not  long 
ago,  however,  and  at  last  de  Roche  can 
take  a  deep  breath  and  say,  with  justice. 
"I  told  you  so!" 

The;  "you"  in  the  case  is  Jesse  Lasky. 
Undoubtedly  Lasky  wondered  when  he 
first  returned  with  his  "successor  to  Val- 
entino" if  he  had  not  made  a  mistake. 
Events  proved  that  he  had;  the  six  foot 
Frenchman  was  no  claimant  to  the  Val- 
entino crown.  He  became  a  square  peg 
in  a  round  hole.  Paramount  plans  had 
no  provision  made  for  a  young  giant  who 
could  act,  and  who  was  not  Apollo-like 
in  a  Valentino  way.  He  was  neither — 
heaven  help  us! — a  "typical"  leading  man 
nor  a  "heavy."  What  in  the  name  of 
the  Great  God  Film  was  he?  The  an- 
swer which  de  Roche  insisted  on  shout- 
ing in  their  ears  was  that  he  was  an 
actor!    An  actor! 

Jesse  Lasky  did  not  forget  the  virile, 
smashing  young  Frenchman  whom  he  had 
brought  over  to  America,  tearing  him 
away  from  stardom  in  France,  to  make 
of  him  a  third  fiddle  at  the  salary  of 
an  ordinary  character  actor. 

When  Madame  Sans  Gene  was  decided 
upon  as  the  next  vehicle  for  Gloria  Swan- 
son  Charles  de  Roche  was  sent  for — and 
offered  a  new  contract.  The  signing  of 
that  instrument  was  quite  different  from 
the  ceremony  attending  the  first.  Charles 

If  You  Write  It,  We'll  Buy 

provided  it  is  a  successful  one,  is  better 
for  the  producer  than  an  original  story. 
You  can  also  surmise  that  there  are  not 
enough  successful  plays  and  novels  to  go 
'round.  Therefore,  the  picture  producer 
must  buy  the  original  story.  And  that 
is  one  all-important  reason  why  there  is 
a  market  for  the  original  story.  But  it 
must  be  a  good  one.  And  so,  my  good 
friends — per  se,  all  you  have  to  do  is  to 
write  a  good  original  story. 

Here  is  the  rub — only  too  little  appre- 
ciated by  the  young  writer.  It  can  not 
be  just  a  good  story.  It  may  not  be  well 
written,  but  nowadays,  to  get  over  with 


de  Roche  understood  English,  and  hi 
knew  a  great  deal  about  making  motio 
pictures  in  America ;  and  he  knew  salarie 
from  the  lowest  prop  boy  to  the  highes 
paid  star.  He  held  trumps.  In  spit 
of  every  handicap  with  which  a  fore;gne 
could  enter  American  pictures,  except  th 
handicap  of  not  having  the  goods  to  de 
liver,  he  had  forced  himself  upon  th 
American  screen  public,  had  made  hi 
name  mean  something  besides  the  ironi 
title,  "successor  to  Valentino."  He  had 
made  it  stand  for  acting  genius. 

So  Jesse  Lasky  sent  for  Charles  de 
Roche.  The  actor  wrote  into  that  con- 
tract all  the  clauses  which  he  knew  were 
his  right.  And  the  salary  is  many  times 
the  nominal  one  which  he  first  had.  He 
saw  to  it  that  his  costumes  were  to  be 
furnished — that  was  one  little  clause  he 
had  overlooked  in  his  ignorance,  and  he 
had  had  to  buy  all  the  clothes  which  his 
numerous  roles  called  for  in  every  pic- 
ture he  made!  Quite  an  item  when  one 
is  making  only  two  hundred  and  fifty  ai 
week  and  is  expected  to  adorn  to  a  cer- 
tain standard  of  living  demanded  of  our 
screen  personages. 

And  Jesse  Lasky,  who  is  quick  to  rec- 
ognize merit  and  to  make  it  work  for 
him,  sent  Charles  de  Roche  on  to  France 
ahead  of  the  company,  to  hire  the  other 
actors,  because  he  could  save  large  sums 
of  money  through  his  knowledge  of  the 
French  motion  picture  field.  He  chose 
the  locations,  acted  as  technical  advisor, 
and  has  the  leading  male  role  in  what 
will  undoubtedly  be  one  of  Paramount'* 
most  pretentious  productions  of  the  com- 
ing year. 

A  victory?    You  said  it! 

But  Charles  de  Roche  says  he  will 
never  sign  another  long-term  contract 
He  has  learned  that  it  is  better  10  sell 
his  .ervices  by  the  picture,  so  thai  br- 
and not  the  producer  alone,  will  benefit 
by  his  increasing  popularity. 

Because  I  believe  he  has  Won  his  vie 
tory  fairly,  and  because  I  think  America 
has  gained  an  artist  in  this  indomitable 
Frenchman,  I  take  off  my  hat  to  Charles 
de  Roche,  nee  the  Marquis  Charles  de 
Rochefort! 


It — continued  from  page  25 

the  scenario  editor,  it  must  be  different.  I 
It  must  have,  at  least,  one  whale  of  an 
idea  back  of  it.    Perhaps  this  necessity  1 
is  stronger  now  than  ever  before  be-  I 
cause  the  fount  of  picture  ideas  is  dwin- 
dling. 

While  I  am  on  this  idea  thing,  I  want 
to  reiterate  that  sometimes  it  is  the  idea 
that  will  sell  your  story  and  bring  you  | 
fame,  even  though  your  story  may  be 
badly  written.  But  the  idea  must  be 
so  unique  and  different  that  it  surpasses 
even  the  basic  theme  of  some  popular  { 
play  or  a  novel. 


SCREENLAND 


29 


To  Love? 


Is  Sex  a  Mystery 
To  You? 

Has  true  love  come  into  your  life  —  or  didn't  you 
recognize  it  when  it  came  ?  Are  you  afraid  now 
of  the  baffling,  perplexing  mysteries  of  sex  re- 
lationship ?  Are  you  discontented  with  the  stupid 
lies  and  furtive  ashamed  answers  the  world  gives 
you  in  place  of  the  naked,  fearless  truth  you 
desire  ?  Do  you  want  some  safe,  sane,  unashamed 
advice  on  sex  questions?  Do  you  hesitate  asking 
your  doctor  certain  questions?  Then  clip  the 
coupon  below,  send  it  today  without  any  money 
and  in  a  few  days  you  will  receive  the  most  start- 
ling surprise  of  your  life. 


Does  a  petting  party  stop  with  a  kiss  or  does  it  go  further?  Is  spooning 
dangerous?  At  last  the  question  is  answered.  See '  Safe  Counsel"  Page  199, 


Life's  Mysteries  Revealed 


YOUR  QUESTIONS  —  all  of  them,  the  most  intimate  — 
all  are  answered  in  simple,  straightforward  fearless 
language.  Here  are  the  real  facts  about  the  so-called 
mystery  of  sex— the  things  you  shouldknow  about-  YOURSELF, 
about  YOUR  BODY,  your  DESIRES  and  YOUR  IMPULSES. 

At  last  a  book  has  been  published  that  digs  into  sex  matters 
without  fear  or  beating  around  the  bush.  This  startling  512 
page  book,  "Safe  Counsel",  written  by  Prof.  B.  G.  Jefferis, 
M.  D.  Ph.  D.  and  Prof.  J.  L.  Nichols,  A.  M.  contains  just 
the  information  you  want.  You  will  be  amazed  at  its  frank- 
ness. Words  are  not  minced.  "Polite"  phrases  are  forgotten 
— the  right  word  is  used  in  the  right  place.  In  this  remark- 
able volume  are  answered  all  the  questions  that  brides  want 
answered  on  the  eve  of  their  weddings — that  youths  ap- 
proaching manhood  demand  of  their  elders  —  that  married 
people  should  know.  The  naked  facts  are  told.  Ruthlessly! 
Daringly !    But  truthfully ! 

"It  zMlght  Have  Been  Prevented" 

How  pitifully  often  do  we  hear  this  pathetic  phrase.  Glorious  young 
lives  are  wrecked  by  ignorance  and  falsehood.  Innocent  children  suffer 
as  a  result  of  prudishness  and  "modesty."  We  think  we  are  an  en- 
lightened, civilized  people— but  we  will  continue  to  be  in  the  dark  ages 
until  every  adult  knows  the  truth  about  the  functions  and  purposes  of  his 
body,  and  about  that  great  powerful  invisible  force,  the  Life  Urge. 

Would  You  Like  to  Knows 


—The  secrets  of  a  happy  mar- 
riage ? 

— The  mistakes  every  couple 

should  avoid? 
— What  true  love  really  means? 
— How  to  perpetuate  the  honey 

moon? 

— Law  of  mutual  attraction? 

— If  continence  is  desirable? 

— How  to  control  your  impulses? 

— Answers  to  sex  problems? 

—  Dangers  of  ignorance? 

— Advice  to  the  newly  married? 


— Signs  of  excesses? 

— What  every  girl  should  know? 

— The  reasons  for  marital  un- 

happiness? 
— How  to  hold  your  husband's 

love? 

— The  prevention  and  cure  of 

social  diseases? 
— Mistakes  often  fatal? 
— Ethics  of  the  unmarried? 
— What  every  young  man  should 

know? 

— Advice  to  expectant  mothers? 


The  Truth  At  Last! 

Safe  Counsel  contains  nine  startling  sections:  1.  The  Science  of  Eugenics; 
II.  Love;  III.  Marriage;  IV.  Childbirth;  V.  Family  Life;  VI.  Sexual  Science; 
VII.  Diseases  and  Disorders;  VIII.  Principles  of  Health  and  Hygiene; 
IX.  The  Story  of  Life.  Here  are  just  a  few  of  the  subjects  discussed  — 
Love,  Anatomy  and  Physiology,  A  Word  to  Maidens,  Maternity,  Parental 
Influences,  Change  of  Life,  Impotence,  Fighting  Modern  Evils.  You 
owe  it  to  yourself,  to  your  happiness  and  your  health  to  read  this 
wonderful  book. 

Nobody  can  escape  sex  problems.  Men  and  women— rich  and  poor— all 
face  the  sex  question.  Do  not  let  ignorance  blight  your  life.  Do  not 
allow  fear  and  superstition  to  mar  your  happiness.  Knowledge  will 
free  you— give  you  security,  self-confidence  and  courage  to  face  life 
without  the  shadow  of  fear  and  doubt  threatening  your  peace  of  mind. 

Send  No  Money— 

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this  invaluable  book  today— and  settle  your  problems  now. 

Just  clip  the  coupon.  Send  it  in  today.  No  money  is  required.  In  a 
few  days  when  the  postman  brings  you  "Safe  Counsel"  (in  a  plain 
wrapper)  you  can  pay  him  $1.98  and  postage.  If  you  are  not  thoroughly 
satisfied  after  examination,  return  the  book  and  we  will  refund  your 
money.  Send  the  coupon  immediately.  Mail  it  today  to  the  Franklin 
Association,  186  N.  La  Salle  St.,  Dept.  7l01  Chicago. 

■■■•■■■■■•■■■■•'"•■•■■"■■ne!lal"",!,""I"Ill!ll">*asBESa 

FRANKLIN  ASSOCIATION 

186  No.  La  Salle  St.,  Dept.  7joi:  Chicago 

Please  send  me  your  amazing  512-page  book,  "Safe  Counsel"  in  a  plain 
wrapper  marked  "Personal."  I  will  pay  the  postman  $1.98,  plus  Postage, 
upon  arrival.  If  I'm  not  satisfied,  I'll  return  it  within  5  days  and  you 
refund  my  money. 


These  are  just  few  of  the  questions  answered  truthfully  and 
authoritatively  by  "Safe  Counsel" 


Name  

Street 

or  R.F.D.- 


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On  page  1 6  you  will  read  of 
how  one  lovely  girl  made  good 
in  the  pictures  and  the  story 
will  introduce  her  so  that  she 
will  u make  good"  with  you. 


Now,  then,  wc  have  got  this  far:  A 
scenario  is  usually  a  story;  a  story  is 
either  a  book-length  novel,  a  novelette, 
or  a  very  short  story.  The  scenario  is 
told  in  straightaway  sequence  form.  A 
continuity  is  a  technical  working  script, 
based  on  the  story.  Sometimes,  but  not 
often,  a  picture  director  may  work  from 
what  is  called  a  continuity-synopsis, 
which  is  the  story,  written  in  narrative 
form,  boiled  down,  but  arranged  exactly 
as  the  director  will  shoot  it. 

In  this  article  is  a  reproduction  of  a 
page  from  a  real  dyed-in-the-wool  fool- 
proof continuity.  It  is  from  the  work- 
ing script  of  "The  Iron  Horse,"  produced 
by  William  Fox,  and  directed  by  John 
Ford.  The  story  and  continuity  were 
written  by  John  Russell  and  Charles 
Kenyon. 

This  marvelous  picture,  now  being 
shown  in  the  principal  key  cities  of  the 
country,  has  been  novelized  by  Edwin 
C.  Hill,  and  the  book  promises  to  be 
one  of  the  big  sellers  of  the  year,  par- 
alleling the  success  of  the  picture. 

"The  Iron  Horse"  portrays  in  a  fas- 
cinating way  one  of  the  greatest  events 
in  the  history  of  the  United  States— the 
building  of  the  first  trans-continental 
railway.  It  is  an  epic  of  motion  pic- 
tures— a  masterpiece  of  the  cinema  art. 
And  the  men  who  made  it  represent  the 
pick  of  the  brains  of  the  industry. 

It  is  fitting  that  "The  Iron  Horse" 
be  used  to  illustrate  this  article. 

When  Mr.  Fox  first  thought  of  the  pos- 
sibilities of  "The  Iron  Horse"  he  called 
into  action  all  the  resources  at  his  com- 
mand. Every  fartor  known  to  have  had 
any  connection  with  this  titanic  undertak- 
ing was  utilized — the  government  of  the 
United  States  and  its  various  departments 
the  War  Department,  the  Smithsonian  In- 
stitute, and  the  Library  of  Congress 
among  them.  And  the  archives  of  the 
great  trans-continental  lines  gave  much 
in  the  way  of  historical  value.  From 
this  vast  storehouse  of  information  the 
writers  of  the  story  first  called  the  great 
picture-to-be  into  being. 

I  have  selected  a  comedy  scene  in  "The 
Iron  Horse,"  because  the  comedy  is  sig- 
nificant and  surrounds  a  bit  of  the  im- 
portant dramatic  action  of  that  epic  pic- 
ture. 

The  Civil  War  was  ended,  and  many 
of  the  soldiers  were  drafted  by  the  con- 
struction bosses  of  the  Union  Pacific 
Railway.  They  came  to  their  employ- 
ment still  wearing  their  uniforms.  And 
there  were  some  interesting  characters 
among  them.  How  many  of  the  old-tim- 
ers among  us  will  recall  the  words  of 
the  popular  refrain  which  came  to  life 
at  the  time  of  the  first  construction  work 
of  the  trans-continental  railway: 

"Drill,  my  paddies,  drill; 
Drill,  yer  terriers,  drill! 


Oh,  it's  work  all  day — 

No  sugar  in  yer  tay — 

Working  on  the  U  Pay  ra-a-ail-way— 
In  "The  Iron  Horse"  Corporal  Cast 
is  a  human  character.  He  and  his  con 
patriots  are  designed  to  relieve  the  b 
dramatic  situations.  The  writers'  intei 
tions  are  successful,  as  one  has  but  1 
see  the  picture  to  discover.  And,  to 
the  incident  of  "Drill,  yer  terriers,  dril 
is  taken  from  real  life.  This  uniqi 
chant  played  an  important  part  in  tl 
operations  of  the  trans-continent 
builders. 

Diverging  from  "The  Iron  Horse 
let  us  take  any  picture  story.  With  tl 
material  before  him,  in  the  form  of 
play,  a  novel  or  an  original  story,  tl 
continuity  writer  begins  his  task  of  pu 
ting  in  technical  form  the  script  whi< 
goes  to  the  director  and  his  staff  for  phi 
tographing.  First,  he  takes  himself  I 
the  hand  and  visualizes  the  drama,  wit 
its  comedy  relief,  the  necessary  atmo 
phere,  the  ever-wanted  color,  and  the  v, 
rious  other  whatnots  that  go  to  mal 
his  subject. 

The  total  number  of  scenes  depen< 
on  the  number  of  reels  to  be  developc 
— and  also  it  depends  on  whether  or  m 
his  picture  is  drama,  comedy  or  comec 
drama.  The  tempo  of  a  drama  is  slowi 
than  for  comedy;  hence  fewer  scenes  a 
required. 

The  reader  will  observe  that  evei 
minute  action  is  carefully  written  ar 
explained.  The  writer  leaves  nothar 
to  be  figured  out  at  the  last  minute  h 
the  director. 

The  close  of  each  scene  is  careful! 
designed  to  lead  logically  into  the  nex 
and  in  order  that  the  audience  will  n< 
become  too  much  immersed  in  the  emu 
tional  scenes,  a  bit  of  comedy  is  stage 
at  the  right  moment,  to  emphasize  th 
more  dramatic  bit  that  follows. 

There  are  hundreds  of  thoughts  th; 
come  to  me  in  connection  with  this  a 
tide,  but  space  forbids  their  repetitia. 
If  I  should  continue  much  further  it 
article  would  run  smack  into  a  course*'] 
story,  or  scenario,  writing,  if  you  wi 
I  have  written  with  some  success  f< 
the  screen,  but  far  be  it  that  I  shoul 
attempt  to  tell  others  how  to  do  it.  A 
I  have  tried  to  do  is  to  explain,  to  tl 
best  of  my  ability,  how  and  why  son 
young  writers  fail,  in  their  own  estim; 
tion,  in  reaping  the  rewards  they  ai 
told  await  them  in  motion  picture  stdi 
writing. 

The  answer,  in  a  few  words,  is:  coi 
fine  yourself  to  the  writing  of  the  stor; 
and  leave  the  technical  preparation  C 
the  continuity  to  the  more  experience 
fellow  who  knows  what  he  is  doing,  tii 
less  you  feel  within  you  the  divine  spar, 
or  whatever  it  is  that  directs  success! 
continuity  writers. 

Keep  to  the  story,  and  make  it  GOOl 


SCRE-ENLAND 


91 


By  the  Beard  of  the  Profit— cm- 
tinued  from  page  21 

beard  to  have  a  value  of  $600,000.00. 
And  this  value  is  actual  and  real. 

Mr.  Valentino's  popularity  has  in- 
creased because  of  this  publicity  so  that 
now  his  films  will  draw  a  very  much 
larger  attendance  than  if  the  $600,000X0 
worth  of  publicity  had  not  been  given 
to  him. 

Only  those  who  deal  with  the  public, 
who  appear  in  person,  can  take  advan- 
tage of  this  kind  of  publicity,  but  there 
is  a  kind  of  publicity  available  to  each 
person  or  each  business,  and  to  secure 
this  simply  requires  imagination.  And 
we,  of  the  hard-boiled  public,  are  always 
very  sympathetic  to  a  clever  publicity 
scheme;  and  instead  of  the  public  feel- 
ing a  resentment  that  their  attention  is 
being  demanded,  the  feeling,  rather,  is 
one  of  tolerance  and  good-nature. 

Publicity  value  compensates  for  the 
exertions  of  youth.  Our  insurance  man 
is  Titus,  and  we  shall  continue  to  insure 
through  him  and  tell  our  friends  about 
him  because  Titus  was  the  undefeated 
rowing  champion.  Never  did  racing  scull 
finish  in  front  of  Titus,  and  when  his 
back  bent  to  the  mighty  pull  that  main- 
tained his  superiority  over  all  living 
men  it  did  more  than  shcot  his  shell 
across  the  line — it  carried  with  it  our 
loyalty,  sentimental,  perhaps,  but  none 
I  the  less,  real. 

But,  to  return  to  Valentino  and  his 
whiskers — his  beard,  which  is  reddish  in 
color,  would  have  availed  him  little  were 
it  not  that  Valentino  has  qualified  on 
the  screen.  It  is  because  he  is  the  good 
movie  actor  that  he  is  that  we  are  in- 
terested in  his  new  type  of  wind-break. 
First  you  must  have  the  goods,  and  then 
you  must  tell  the  world;  and  though 
Mr.  Emerson  has  claimed  that  the  world 
will  make  a  beaten  path  to  the  door  of 
the  rat  trap  manufacturer  of  merit,  the 
path  will  be  worn  much  sooner  if  some 
publicity  can  be  secured. 

Each  one  of  us  is  in  business  to  sell 
something,  and  all  of  us  need  to  have 
the  public  clamoring  for  something  of 
ours. 

In  New  York,  at  this  moment,  "Peter 
Pan"  comes  again  to  delight  the  theatre- 
goers. Miss  Miller  has  a  headline  in 
the  morning  paper  because  girls  mobbed 
the  theatre  entrance. 

In  Hollywood  Mr.  Brenon  has  just  fin- 
ished Miss  Bronson*s  performance  of 
'  Peter  Pan"  for  the  films,  but  Sir  James 
Barrie,  profiting  though  he  does  by  this 
publicity,  may  shave  or  not  as  he  likes; 
and  if  your  goods,  as  Sir  James'  goods, 
'  win  respect  for  themselves,  they  will  earn 
their  own  publicity. 

Publicity!    It  is  the  life  blood  of  busi- 
ness,  and   it   is   certainly  the  "Sheik's 
|i  Whiskers"  for  the  movie  star. 


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Mack  Sennett  and  his  pet  lion  cub.  After 
dealing  with  the  temperamental  bathing 
beauties,  Mr.  Sennett  has  no  fear  of  savage 
beasts. 


When  ^Mack  Sennett  Becomes  Enthusiast 


Winners  of  the  Bathing  Beauty  Con- 
test were  selected  from  the  many 
photographs  sent  in  answer  to  the 
S  CREENLAND  contest  and  were 
shown  to  Mr.  Sennett  for  his  comment. 


'A 


this    world    by  well-intentioned 
people,'"  said  Mr.  Sennett. 

We  had  expected  some  wise  observa- 
tions and  in  fact  rather  looked  forward 
to  the  naked  truth,  or — at  least,  wisdom 
a-la  one-piece.  So  we  removed  our  gaze 
from  the  photographs,  which  invariably 
cover  the  desk  of  the  greatest  impres- 
sario  of  beauty  on  the  screen,  and  lis- 
tened. 

"I  would  like  to  see  a  test  of  this  girl, 
Miss  Eileen  Hill;  perhaps  she  might  pass 
the  requirements.  She  is  a  very  attrac- 
tive girl,  and,  111  give  you  a  letter  for 
her.  If  she  cares  to  present  it  at  the 
studio,  we'll  give  her  a  test." 

Realizing  that  we  were  dismissed,  it 
was  impossible  to  ask  all  our  questions. 


We  had  wanted  to  know  more  of  wi 
these  requirements  are. 

We  know  this,  however,  that  there  ; 
many  thousands  of  girls  who  would 
glad  to  have  even  this  little  bit  of 
opportunity.     And  if  Miss  Eileen  E 
ever  takes  advantage  of  it,  we  wish  1 
the  very  best  of  luck. 

It  would  be  only  fair  if  we  could 
member  all  the  nice  things  Mr.  Senm 
said  concerning  the  other  girls  in  the  cc 
test,  particularly  about  Miss  June  Co 
man.  But.  at  any  rate,  we  are  proud 
Screenland's  one-piece  girls  and  can  p: 
this  word — that  Mr.  Sennett  has  proi 
ised  to  select  his  next  beauty  through  o 
columns. 

Mr.  Sennetfs  letter  has  been  sent 
Miss  Hill;  we  presume  by  this  time  s 
is  practicing  high  diving  all  over  the  1 
Lawrence  River. 


S  C  R  E  E  N  L  AN  D 


93 


She's  the  Prettiest  Girl- 

ised  me  to  forget  that  I  had  ever 
jyed  small  parts  in  more  or  less  in- 
jiifkant  pictures  I  said  that  I  was 
j.ud  of  it  and  didn't  want  to  forget 

even  if  I  could." 

5he  didn't  tell  me  all  of  it.  How  she 
rked  at  other  things  to  fill  in  between 
tures — she  posed  for  advertisements, 
•  one.  How,  when  she  finally  had 
tught  on,"  she  won  the  respect  of 
ry  one  with  whom  she  worked — how 
3  famous  male  star  said  of  her,  "She's 
:  only  perfect  lady  I  ever  had  for  a 
ding  lady." 

And  now,  here  she  is.  A  producer  saw 
r  in  one  of  those  unimportant  pictures, 
ognized  her  possibilities,  and  signed 
r  to  a  long  term  contract.  It's  been 
d  that  since  her  success  in  the  pic- 
res  she  has  made  in  California,  she 
uld  command  a  salary  five  times  larger 
in  she  is  getting.  But  even  if  she  were 
t  handcuffed  by  her  contract  I  believe 
e'd  refuse  a  stellar  offer  right  now,  even 
it  included  maid  service.  Because,  as 
e  says,  the  work  she  is  doing  is  the  best 
ing  for  her.  She  doesn't  choose  her 
les;  they  are  chosen  for  her.  And  they 
ve  ranged  from  frivolous  debutantes  to 
art-broken  mothers.  From  "He  Who 
ets  Slapped"  to  "Excuse  Me"  is  quite 
jump,  but  Norma  recently  landed  se- 
irely  on  both  trim  feet  in  the  picturiza- 
m  of  the  Rupert  Hughes'  Pullman 
rce. 

{ She  declines  to  be  advertised  as  a  Cin- 
JJarella  of  the  screen.  She  has  fought 
Wry  inch  of  the  way,  so  why  should  she 
1  billed  as  a  brand-new  star  shooting  out 
1  the  nowhere  into  the  here?  She  might 
ive  had  much  more  publicity  if  she  had 
aosen  to  accept  the  over-night  role;  but 
fs  kind  she  is  getting  is  worth  more, 
hem! 

The  only  trace  of  the  long,  lean  years 
in  her  work.  She  could  never  play 
l.ature  women  who  suffer  and  suffer  if 
iie  had  stepped  straight  into  a  star's 
mousine.  Her  feet  may  have  ached 
'fom  time  to  time,  but  now  they  wear 
iie  most  expensive,  custom-built  slippers 
Ith  all  the  ease  in  the  world — and  they 
on't  pinch. 

Norma  Shearer  sponsors  a  new  style  in 
igenues.    I  have  met  all  kinds.  There 
the  sweet  and  simple  thing  who,  backed 
y  a  doting  family,  is  enabled  to  make 
bth  ends  meet  in  Hollywood  and  even 
J  1  lap  over — to  buy  her  way  into  pic- 
ties.    She  is,  as  a  rule,  a  somewhat  su- 
f  irior  little  creature,  inclined  to  observe 
:  i  fhghtily   the   hard-working   ones  who 
ive  risen  from  the  ranks  sometimes  at 
ie  expense  of  their  manners  and  morals, 
jtjjhe  has  been  petted  and  pampered;  she 
e  s*  las  run  from  any  disappointments  a  hard- 

:   cried  studio  has  offered  her  to  weep  out 

t Si!  9ortai\ 


continued  from  page  18 

her  sorrows  on  the  broad  maternal  bosom. 
She  is  carefully  shielded  from  all  the  de- 
moralizing, degrading  movie  folks — so- 
called.    She's  synthetic — and  proud  of  it. 

Then,  there's  the  other  kind — the  fight- 
ing kind,  who  has,  maybe,  compromised 
with  ideals  in  the  cause  of  art.  She  of- 
ten turns  out  to  be  an  actress;  and  if  you 
ask  her  how  she  does  it,  she's  likely  to 
reply,  "Ah,  my  dear,  I've  lived." 

But  Norma  Shearer  sets  a  precedent. 
She  was  never  spoiled,  either  by  hard 
knocks  or  soft  mama.  She's  never 
"lived,"  in  the  sense  of  the  problem  play 
heroine.  But  she  doesn't  have  to.  She 
knows  what  it's  all  about  by  instinct. 
And  her  "struggles"  have  made  her  toler- 
ant enough  to  portray  a  part  of  a  prosti- 
tute with  sympathy — as  she  will  in  "Two 
Worlds."  By  the  way,  that  part  will 
probably  be  turned  into  a  dance-hall  girl 
or  something  more  acceptable  to  the  blue- 
nosed.  They  wouldn't  let  Norma  play 
an  unvarnished  wicked  woman.  This  new 
picture  offers  her  a  dual  role — a  bad  girl 
and  a  good  girl;  and  I'm  willing  to  bet 
you  won't  believe  the  same  girl  is  play- 
ing 'em. 

She  offered  me  a  cigarette.  There 
seemed  to  be  several  packages  in  the 
hotel  room;  but  Norma  didn't  take  one 
"We  keep  plenty  on  hand,"  she  said. 
For  half  a  second  I  was  disillusioned 
Was  she  posing?  Then,  "I  don't  smoke, 
but  mother  does." 

She  is  not  over-confident  now — if  she 
ever  was.  When  she  read  some  of  the 
things  the  New  York  newspaper  critics 
said  about  her  work  in  "Lucretia  Lom- 
bard," she  cried  for  a  week.  "I  do  take 
criticisms  to  heart,"  she  said.  "And  par- 
ticularly those.  Because  the  part  I  played 
wasn't  my  fault.  I  could  have  made  her 
less  kittenish,  but  she  was  that  kind  of 
a  girl,  so  what  could  I  do?" 

I  know  what  some  ingenues  would  have 
done.    Not  Norma. 

She's  the  sort  of  girl  who  can  say, 
"I  take  my  work  awfully  seriously" — and 
then  turn  around  and  laugh  at  herself. 
She's  still  young  enough  to  be  a  little 
elated  over  the  fact  that  in  "The  Snob" 
she  manages  to  look  as  if  she  had  a 
child ! 

Altogether,  if  I  was  for  Norma  Shearer 
before  I  met  her,  I'm  cheering  louder 
for  her  now.  Especially  when  we  talked 
about  sex  appeal.  A  reporter  had  come 
to  see  her  to  ask  her  if  she  was  a  man's 
woman. 

"I  said  I  really  didn't  know,  but  that 
two-thirds  of  my  mail  came  from  girls. 
The  interviewer  said  he  was  sorry,  but 
his  editor  had  said  I  was  a  man's  woman, 
so  I  must  have  lots  of  sex  appeal.  Well." 
said  Norma  Shearer  with  a  twinkle.  "It 
may  be  naughty,  but  I'm  glad  I  have  a 
little!" 

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SCREENLAND 


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of  the  Bust 

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Dramaland— continued  from 
page  63 

longs  to  Adolphe  Menjou — -10%  comi 
sion  on  that  Adolphe,  if  you  get 
He  is  pointed  out  to  Airs.  Westco 
and  she  makes  up  her  mind  to  vamp 
away  in  order  to  save  her  daughter, 
course  he  does  not  know  who  she  is. 

Reel  Four — Now  Naughton  is  not 
regulation   sort    ef   attractive  bache 
That  is  why  I  picked  Menjou  for 
part.     Otherwise  I  should  have  pic 
Ricardo  Cortez.    So  you  must  not 
surprised   when    I   tell  you   that  I| 
Westcourt  really  falls  in  love  with  \ 
Or  is  it  just  with  the  vicarious  thril 
gives  her?     Anyway,  there  is  the 
scene  in  which  the  father  and  daug 
both  at  once  discover  her  in  Naught  j 
apartment  and  in  his  arms.     The  i 
band  becomes  dramatic  and  denout 
and  renounces  her  forever. 

Reel  Five  and  Reel  Six — In  the 
the  husband  and  daughter — deserted 
alone — plead  with  the  mother  to  re 
to  them.    But  she  says  that  she  has! 
own  life  to  live  and  goes  to  Europi 
live  it.    Followed  by  Naughton.  Th: 
because  the  husband  is  an  unattrac 
brute  who  actually  talks  with  a  lisp 
suppose  in  the  movie  Corinne  will  1 
an  attractive  husband  who  repents  t 
tily  so  that  she  can  be  reconciled  to 
in  the  end — according  to  censors.  At 
rate,  if  he  lisps  we  shan't  be  able  to 
it.    There  is  probably  a  moral  to 
play.     Unpleasant  endings  usually  1 
them.     The  moral  probably  is  that 
bands  should  not  lisp. 

*  *  * 

Pedro  de  Cordoba  has  left  the  sc 
for  the  time  being  to  play  in  a  si 
of  plays  to  be  presented  by  the  Ec 
Players  in  New  York  City.  His  r 
recent  screen  vehicle  was  ''The  Bar 
ero."  in  which  he  played  the  title  tC 

*  *  * 

Holmes  Herbert  has  completed  wor1 
a  feature  role  in  "A  Man's  World,"  t 
made  in  California.     His  two  most 
cent  pictures  were  "Love's  Wilderi 
and  "Up  the  Ladder."    In  the  fo 
picture  he  played  the  lead  opposite 
inne  Griffith. 


Alma  Rubens  is  confident  that  her 
of  "Maxine"  in  the  screen  adaptatio 
Sir  Gerald  du  Maurier's  "The  Dane 
is  the  best  she  has  had  this  year.  !h 
plays  the  part  of  a  dancer. 


SCREENLAND 


95 


The    internationally  famous 
Beauty  Culturist 


Paint  and  Powder 

An  illuminating  discussion  on  the  important  subject  of 
Exterior  Decoration 


Bv  HELENA  RUBINSTEIN 


LTow  and  again  I  meet  women  who 
have    convinced    themselves  that 
ijakeup     is     harmful     to     the  skin, 
iiake-up  is  exactly  like  any  other  prep- 
aration for  the  skin — if  it  be  impure  and 
p  -'isuitable  then  it  will  decidedly  prove 
Jirmful,  but  if  it  be  absolutely  pure  and 
[litable  it  will  prove  not  only  harmless 
,  it  distinctly  beneficial. 
Til  A  delicate  skin  will  become  roughened, 
1  ied  and  perhaps  blotchy  from  exposure 
ff  wind  and  cold.    But  give  it  the  pro- 
0  ction    of    rouge,    especially    a  cream 
i(  uge,  and  the  wind  must  strike  this  layer 
)  I  cream  before  it  gets  to  the  skin.  The 
.oiMUge  acts  as  a  sort  of  shock  absorber, 
l ''Unprotected  skin  that  is  coarse  and 
.  j -en-pored  makes  a  perfect  resting  place 
If  dust  particles  and  acne  germs;  but 
|  fatly  coated  with  an  absorbent  powder 
i  can  pretty  well  resist  these  ever-pres- 
t  enemies  to  beaut)-. 
(Actresses  represent  perhaps  the  most 
EfLjautiful  class  of  women.    The  actress 
5,  as  a  rule,  a  skin  far  healthier  and 
.^livelier  than  that  of  other  professional 
'j,j)men,    business    women    and  home- 
;iikers  of  whatever  country.    And  the 
tress  uses  fully  three  times  as  much 
like-up  as  any  one  of  these !    You  see, 
an,  that  the  prejudice  against  make-up 
s  little  basis  in  fact. 
There  are  certain  definite  rules  to  the 
:  of  making  up.    The  first  and  most 
iportant  is  this — never  apply  your  make- 
direct  to  the  skin,  but  to  a  founda- 
I.    Choose  your  foundation  with  care- 
regard  to  the  individual  needs  of  your 
n.     There  are   foundations  specially 
spared   for  dry   skin,   oily   skin,  for 
ns  of  delicate  texture  and  those  of  a 
irdier  texture.    There  is  a  foundation 
de  just  for  you. 


The  next  rule  to  follow  is — study  your 
type.  Those  brunettes  who  use  their 
blond  sisters'  make-up  are  largely  re- 
sponsible for  the  odium  that  attaches  to 
''paint  and  powder."'  They  forget  that 
the  purpose  of  cosmetique  is  to  aid  na- 
ture, not  to  ridicule  it.  A  brunette  whose 
skin  is  thick  of  texture  and  inclined  to 
saliowness  should  always  apply  a  liquid 
powder  before  her  rouge  and  she  should 
choose  dark  shades  both  in  rouge  and 
powder,  also  brique-toned  lipstick  in  pre- 
ference to  the  coral  tones. 

A  short  time  ago,  in  my  Paris  labora- 
tory, I  evolved  a  peach-tone  powder  that, 
strange  as  it  may  seem,  proved  becoming 
to  almost  every  type  of  complexion.  So 
if  you  are  neither  a  decided  blonde  nor 
a  true  brunette,  you  will  do  well  tb  choose 
a  powder  that  is  neutral  in  tone  and  be- 
coming to  many  types  of  complexion. 

Blending  is  the  thing  in  artistic  make- 
up. Never  should  there  be  a  visible 
'"join."  never  the  merest  suggestion  of 
a  line  between  your  skin  and  your  cos- 
metique. Powder  must  blend  from  the 
face  into  the  neck.  Rouge  must  never 
stop  in  a  harsh  line,  but  should  come  from 
the  chin  up  into  the  cheek  growing  a 
little  deeper  in  tone  as  it  rises  above  the 
jaw-bone  and  extending  ever  so  faintly 
over  the  forehead  and  the  temples. 

The  art  of  blending  is  not  easy  of 
accomplishment  where  there  is  an  indis- 
criminate choice  of  powders  and  rouges. 
But  fortunately  for  the  average  woman 
who  has  not  the  time  to  "practice"  the 
art  of  blending  there  are  some  cosmet- 
iques  of  such  consummate  perfection  that 
they  blend  almost  of  themselves.  This  is 
particularly  true  of  those  rouges,  pow- 
ders and  lipsticks  made  on  a  cream  base. 


Weetand 


^Jwenhj 

Youth — and  an 
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cRg]wenation 

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THE  TEN  COMMANDMENTS  Henry  MacMahon 

SCARAMOUCHE   Rafael  Sabatini 

JANICE  MEREDITH   Paul  Leicester  Ford 

DOROTHY  VERNON  OF  HADDON  HALL  Charles  Major 

AMERICA   Robert   W.  Chambers 

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WANDERER  OF  THE  WASTELAND  Zane  Grey 

MANHANDLED  ...1  ...Arthur  Stringer-Russell  Holman 

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LOVE  INSURANCE  (The  Reckless  Age)  Earl  Derr  Biggers 

ANOTHER  SCANDAL  Cosmo  Hamilton 

THE  SALAMANDER  (The  Enemy  Sex)  Owen  Johnson 

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RITA  COVENTRY   (Don't  Call  It  Love)  Julian  Street 

A  LADY  OF  QUALITY  Frances  Hodgson  Burnett 

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Book 


s-  THE  TEN 
(OMMANDMENTS 


If" 


1  J 


ymi  MEREDITH 

tnr  VKVl  LEICESTER  FORD 


«HES  EDITION 


\some  People  Say  This  Book  Is 
Not  Fit  to  Read! 


Elinor  Glyn,  author  of  "Three  Weeks,' '  has  written  an 
audacious  novel  called  The  Price  of  Things.''  Never 
could  a  book  thrill  like  this  one.  Never  would  any  other 
writer  dare  to  touch  such  a  breath-taking  subject.  But, 
while  Elinor  Glyn  handles  her  topic  with  fearless  frank- 
ness, while  she  allows  herself  great  freedom  in  writing, 
this  burning  story  of  love  and  passion,  nevertheless  we 
think  you  should  be  allowed  to  read  the  book  and  decide 
for  yourself  whether  or  not  it  is  fit  to  read.  This  you  can 
do  at  our  risk — without  advancing  a  penny ! 


Warning ! 

"The  Price  of  Things" 
is  not  a  bed-time  story 
for  children.  And  the 
publishers  positively  do 
not  care  to  have  the  book 
read  by  anyone  under 
eighteen  years  of  age.  So 
unless  you  are  over  eight- 
een, please  do  not  fill 
out  the  coupon  below. 


Thousands  Will 
Brand  It  "The 
Devil's  Bargain" 

i-pHOUSANDS  will  say  the 
I*-  husband  of  this  story  was 
Iprompted  by  the  Devil's  own 
;  impulse  to  do  what  he  did. 
Thousands     all     over  the 
country  will  brand  the  agree- 
ment   between    the  husband 
and  the  hero  "a  bargain  of  sin."  Others 
will  claim  the  author  is  reckless  to  write 
J  of  such  a  thing.    And  yet  Elinor  Glyn  will 
'show  you,  in  "The  Price  of  Things,"  that 
(Strict  conventions  sometimes  do  not  count 
il — that,  after  all,  love  and  passion  are  the 
jfpnly  big  things  which  really  matter.  She 
brings  out  superbly  in  this  sensational  story 
:  the  fact  that  for  thousands  of  years  people 
fjiave  been  acting  not  as  God  and  Nature 
intended  they  should,  but  as  people  who  con- 
tinually fear  the  finger  of  shame  and  scorn. 

"The  Price  of  Things"  thrillingly  relates 
how,  despite  all  shams  and  conventions, 
the  terrific  force  of  love  will  grow  in 
leaps  and  bounds  until,  with  a  roar  and  a 
rush,  it  bursts  all  the  floodgates  of  re- 
straint. As  the  heroine  sees  this  irresistible 
force :  "Then  I  forgot  honor  and  self-con- 
trol, because  in  nature  I  find  there  is  a 
stronger  force  than  all  these  things,  and 
that  is  the  touch  of  the  one  we  love." 

Elinor  Glyn  Does  Not 
Care  What  People  Say 
About  This  Book 

TRUE  it  is  that  Elinor  Glyn  is  the 
world's  most  daring  writer  and  this  her 
most  daring  book.  But  she  cares  not  that 
so  many  say  her  books  are  not  fit  to  read. 
Elinor  Glyn  will  show  you  love  and  passion 
as  it  is,  not  as  bread-and-water  moralists 
would  like  you  to  believe  it  is.  She  writes 
with  utter  candor  and  frankness  of  the 
?  things  she  knows  best— the  greatest  things 
in  life — Love  and  Passion  ! 

Let  These  Perfect  Lovers 
Thrill  You 

iiTHE  Price  of  Things"  will  thrill  you  as 
you  never  have  been  thrilled  before 
because  Elinor  Glyn  wrote  it  to  thrill  you.. 


4 


The  book  should  injure  no 
one  honest  enough  to  face  the 
facts  of  life — and  certainly 
Elinor  Glyn  is  not  one  to  gloss 
them  over  like  the  folks  of  a 
few  generations  ago  who  gave 
the  impression  that  babies 
grew  in  cabbage  patches  and 
no  one  was  supposed  to  know 
any  more  about  it. 

The  art  of  Elinor  Glyn  is 
so  charmingly  simple,  you 
really  don't  know  you  are 
reading  a  book.  You  quickly  forget  the 
printed  page.  So  perfectly  human  and  life- 
like are  Mrs.  Glyn's  characters  _  that  you 
actually  seem  to  hear  them  talking.  You 
move  about  among  them.  So  evident,  so 
inescapable,  is  the  mystery,  the  charm,  the 
fire  and  passion  of  this  fiercely-sweet  ro- 
mance, that  the  warm  breath  of  the  hero 
seems  to  fan  your  face.  Your  blood  races 
madly  at  the  unconditionally  sweet  sur- 
render of  this  delicious  heroine.  You  feel 
her  soft  arms  about  your  neck.  You  kiss 
her  madly  and  seem  to  draw  her  very 
soul  through  her  lips. 

Oh  !  it  is  one  book  in  a  million.  It  is  a 
book  you  will  read  in  one  sitting.  Having 
started  it,  you  cannot  lay  it  aside  until 
finished.  And  when  completed,  you  will 
sigh  in  regret,  then  dream  a  little.  But  you 
will  not  sleep.  No,  you  will  be  living  oyer 
and  over  again  those  deliciously  thrilling- 
romantic  moments  when  all  the  world 
seemed  to  cease  breathing  for  two  whose 
hearts  beat  as  one. 

This  Book  Is  Uncensored 

THE  publishers  unconditionally  guaran- 
tee this  book  to  be  exactly  as  it  ap- 
peared in  the  English  edition— uncensored 
— unabridged.  We  are  offering  it  to  the 
American  public  word  for  word  as  it  ap- 
peared originally.  "The  Price  of  Things" 
probably  will  appear  as  a  movie  in  the  near 
future,  but  it  will  be  censored,  cut,  and 
slashed  to  such  an  extent  that  the  daring 
of  the  original  copy  will  be  almost  entirely 
lost. 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Price  of  Things."  Simply  fill 
out  the  coupon  below — or  write  a  letter — 
and  the  book  will  be  sent  to  you  on  ap- 
proval.    When  the  postman  delivers  the 


book  to  your  door— when  it  is  actually  in 
your  hands— pay  him  only  $1.97,  plus  a 
few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content— read 
it  from  cover  to  cover — and  if  you  are  not 
more  than  pleased,  simply  mail  the  book 
back  in  good  condition  within  five  days  and 
your  $1.97  will  be  refunded  gladly. 

Elinor  Glyn's  books  sell  like  magic— by 
the  million!  "The  Price  of  Things,"  being 
the  most  sensational  book  she  has  ever 
written— and  that's  saying  a  lot ! — will  be 
in  greater  demand  than  all  others.  Every- 
body will  talk  about  it— everybody  will 
buy  it.  So  it  will  be  exceedingly  difficult  to 
keep  the  book  in  print.  We  know  this  from 
experience.  It  is  possible  that  the  present 
edition  may  be  exhausted,  and  you  may  be 
compelled  to  wait  for  your  copy,  unless  you 
mail  the  coupon  below  AT  ONCE.  We  do 
not  say  this  to  hurry  you— it  is  the 
truth. 

Get  your  pencil — fill  out  the  coupon 
NOW.  Mail  it  to  The  Authors'  Press, 
Auburn,  N.  Y.,  before  it  is  too  late.  Then 
be  prepared  to  read  the  most  sensational 
book  ever  written  ! 


I  The  Authors' Press,  Dept  521,  Auburn,  N.  Y. 

i  Send  me  on  approval  Elinor  Glyn  s  sensational  novel, 
I  "The  Price  of  Things."  When  the  postman  delivers 

I the  book  to  my  door.  I  will  pay  him  only  S1.07.  plus 
a  few  pennies  postage.  If  the  book  is  not  satisfactory. 
I  may  return  it  any  time  within  five  days  after  it  is 
I  received,  and  you  agree  to  refund  my  money. 


ed  fcdi 


No 


De  Luxe  Leather  Edition-We  have  prepared 
tion.  handsomely  bound  in  Royal  Purple  Genuine  Lea: 
lettered  in  Gold,  with  Gold  Tops  and  Purple  Silk  MarkL 
expense  spared  -  makes  a  Korgreous  cifr.  It  you  prefer  thl 
leather  edition -as  most  people  do— simplv  sii--n  below, 
place  a  cross  in  the  little  square  at  the  right,  anc  pay 
the  postman  only  $2.97  plus  postage.  


□ 


City  and  State. 


t  is  possible  that  you  mar  not  be  at  home 
calls,  send  cash  in  advance.   Also  if  you  re- 


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HOROSCOPE  OF  JACKIE  COOGAN'S  BRQ1 


The  Most  Daring  Book, 
Ever  Written  ! 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  book  that  should  be  read  by  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
— it  is  a  penetrating  searchlight  fearlessly  turned  on  the  most 
intimate  relations  of  men  and  women.  Read  below  how  you  can 
get  this  daring  book  at  our  risk — without  advancing  a  penny. 


WILL  you  marry  the  man 
you  love,  or  will  you  take 
the  one  you  can  get? 

If  a  husband  stops  loving  his 
wife,  or  becomes  infatuated  with 
another  woman,  who  is  to  blame 
— the  husband,  the  wife,  or  the 
"other  woman?" 

Will  you  win  the  girl  you  want, 
or  will  Fate  select  your  Mate? 

Should  a  bride  tell  her  husband 
what  happened  at  seventeen? 

Will  you  be  able  to  hold  the 
love  of  the  one  you  cherish — or 
will  your  marriage  endin  divorce? 

Do  you  know  how  to  make  people  like  you? 

IF  you  can  answer  the  above  questions — 
if  you  know  all  there  is  to  know  about 
winning  a  woman's  heart  or  holding  a 
man's  affections — you  don't  need  "The 
Philosophy  of  Love."  But  if  you  are  in 
doubt — if  you  don't  know  just  how  to 
handle  your  husband,  or  satisfy  your  wife, 
or  win  the  devotion  of  the  one  you  care 
for — then  you  must  get  this  wonderful 
book.  You  can't  afford  to  take  chances 
with  your  happiness. 

What  Do  YOU  Know 
About  Love? 

DO  you  know  how  to  win  the  one  you 
love?  Do  you  know  why  husbands, 
with  devoted,  virtuous  wives,  often  be- 
come secret  slaves  to  creatures  of  another 
"world" — and  how  to  prevent  it?  Why  do 
some  men  antagonize  women ,  finding  them- 
selves beating  against  a  stone  wall  in  affairs 
of  love?  When  is  it  dangerous  to  disregard 
convention?  Do  you  know  how  to  curb  a 
headstrong  man,  or  are  you  the  victim  of 
men's  whims? 


What  Every  Man  and 
Woman  Should  Know 


-how  to  win  the  man 

you  love, 
-how  to  win  the  girl  you 

want. 

-how  to  hold  your  hus- 
band's love. 

-how  to  make  people 
admire  you. 

-why  "petting  parties" 
destroy  the  capacity 
for  true  love. 

—why  many  marriages 
end  in  despair. 

—how  to  hold  a  woman's 
affection. 

-how  to  keep  a  husband 
home  nights. 

—things  that  turn,  men 
against  you. 

—how  to  make  marriage 
a  perpetual  honey- 
moon. 

-the  "danger  year"  ot 
married  life. 


— how  to  ignite  love — 
how  to  keep  it  flaming 
— how  to  rekindle  it 
If  burnt  out. 

— how  to  cope  with  the 
"hunting  instinct"  in 
men. 

— how  to  attract  people 

you  like. 
— why    some   men  and 

women  are  alwayslov- 

able,  regardless  of  age. 
— are    there    any  real 

grounds  for  divorce? 
— how  to  increase  your 

desirability  in  a  man's 

eye. 

— how  to  tell  if  someone 

really  loves  you. 
— things   that   make  a 

woman    "cheap"  or 

"common. " 


Do  you  know  how  to  re- 
tain a  man's  affection  always? 
How  to  attract  men?  Do  you 
know  the  things  that  most  irri- 
tateaman?  Or  disgust  a  woman? 
Can  you  tell  when  a  man  really 
loves  you— or  must  you  take 
his  word  for  it?  Do  you  know 
what  you  MUST  NOT  DO  un- 
less you  want  to  be  a  "wall 
flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that 
make  women  like  you?  Why  do 
"wonderful  lovers"  often  be- 
EUNOR  GLYN        come  thoughtless  husbands  soon 
The  Oracle  of  Love"     after  marriage — and  how  can 
the  wife  prevent  it?  Do  you  know  how  to 
make  marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places  a 
magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.  No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty, 
deep  sincerity,  and  resolute  courage.  But 
while  Madame  Glyn  calls  a  spade  a  spade 
— while  she  deals  with  strong  emotions 
and  passions  in  her  frank,  fearless  man- 
ner— she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book 
can  safely  be  read  by  any  man  or  woman. 
In  fact,  anyone  over  eighteen  should  be 
compelled  to  read  "The  Philosophy  of 
Love";  for,  while  ignorance  may  some- 
times be  bliss,  it  is  folly  of  the  most  danger- 
ous sort  to  be  ignorant  of  the  problems  of 
love  and  marriage.  As  one  mother  wrote  us: 
"I  wish  I  had  read  this  book  when  I  was  a 
young  girl — it  would  have  saved  me  a  lot 
of  misery  and  suffering." 

Certain  shallow-minded  persons  may 
condemn  "The  Philosophy  of  Love."  Any- 
thing of  such  an  unusual  character  generally 
is.  But  Madame  Glyn  is  content  to  rest  her 
world  wide  reputation  on  this  book — the 
greatest  masterpiece  of  love  ever  attempted ! 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Philosophy  of  Love."  Simply 
fill  out  the  coupon  below — or  write  a  letter 
— and  the  book  will  be  sent  to  you  on  ap- 
proval. When  the  postman  delivers  the 
book  to  your  door — when  it  is  actually  in 
your  hands — pay  him  only  $1.98,  plus  a 
few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content — read 
it  from  cover  to  cover — and  if  you  are  not 
more  than  pleased,  simply  send  the  book 


PHILOSOPHY 
OF  LOVE 

Ly  ELINOR  GLYN 

\J  MSi»raf'ThneV/eAs 


warninq 


The  publishers  do  not  care  to  send  "The  Phi- 
losophy of  Love"  to  anyone  under  eighteen 
years  of  age.  So,  unless  you  are  over  eighteen, 
please  do  not  fill  out  the  coupon  below. 


back  in  good  condition  within  five  days 
and  your  money  will  be  refunded  instantly. 

Over  75,000,000  people  have  read  Elinor 
Glyn's  stories  or  have  seen  them  in  the 
movies.  Her  books  sell  like  magic.  "The 
Philosophy  of  Love"  is  the  supreme  culmi- 
nation of  her  brilliant  career.  It  is  destined 
to  sell  in  huge  quantities.  Everybody  will 
talk  about  it  everywhere.  So  it  will  be  ex- 
ceedingly difficult  to  keep  the  book  in  print. 
It  is  possible  that  the  present  edition  may 
be  exhausted,  and  you  may  be  compelled 
to  wait  for  your  copy,  unless  you  mail  the 
coupon  below  AT  ONCE.  We  do  not  say 
this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupon 
NOW.  Mail  it  to  The  Authors'  Press, 
Auburn,  N.  Y.,  before  it  is  too  late.  Then 
be  prepared  to  read  the  most  darins  book 
ever  written! 


The  Authors'  Press,  Dept.  263,  Auburn,  N.  Y. 

Please  send  me  on  approval  Elinor  Glyn's  master- 
piece. "The  Philosophy  of  Love."  When  the  post- 
man delivers  the  book  to  my  door,  I  will  pay  him 
only  Si. 98,  plus  a  few  pennies  postage.  It  is  under- 
stood, however,  that  this  is  not  to  be  considered  a 
purchase.  If  the  book  does  not  in  every  way  come 
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FEB  ^2^5       c'©ciB650795  ^/l/ 

cj-fxe  andoJ[iQJ\dQjnt  Screen.  Magazine 

MARCH,  1925 


VOL.  X,  NO.  5 


Eliot  Keen,  Editor 


CONTENTS  for  MARCH 


Cover— Norma  Talmadge.    Colorgraph  by  Paul  Hesse. 
Ask  Me— An  Answer  Page  of  Information.    By  Miss  Vee  Dee 
Behind  the  Screen  . 
John  Gilbert — A  Portrait  . 
Natacha  Rambova — A  Portrait 
Pauline  Garon — A  Portrait 
Phyllis  Haver— A  Portrait  . 
Hollywood — Well,  Who  Wouldn't?  . 
An  Open  Letter  to  Erich  Von  Stroheim — By  Myron  Zobel 
The  Movie  First  Nighters       .  . 

When  A  New  Film  Production  Is  Shown  to  Critical  Broadway — By 
Blind  Man's  Bluff.    By  Marion  Brooks  Ritchie  . 
Clara  Bow — A  Portrait  .  ... 

The  Most  Valuable  Baby  on  Earth.    By  Jane  Carleton 
Success  Pays  Dividends.    By  Henry  Albert  Phillips 

The  Animals  Are  All  in  the  Movies  

The  Secret  of  Corinne  Griffith's  Charm.   By  Charlton  Lawrence 
Betty  Remembers.    By  Grace  Frye  . 
Meet  Mr.  Chance.    By  Rodney  Hickok 
Dorothy  Mackaill — A  Portrait  ..... 
A  Shape  Like  A  Million  Dollars.    By  Gayne  Dexter  . 

jjp.  She  Goes  (Marian  Nixon)  

Champions.    By  Grantland  Rice  . 
New  Screenplays.    Reviewed  by  Delight  Evans  . 
Some  New  Films.   Reviewed  by  Martin  B.  Dickstein 
Pre-Showing  of  Feature  Films  . 

Helen  Lee  Worthing — A  Portrait  .... 

Wampas  Baby  Stars  ....... 

Grace  Lovejoy — A  Portrait  ...... 

Charlotte  Stevens — A  Portrait  .        .  ■  . 
In  Dramaland.    By  Myron  Zobel  .... 

How  to  Succeed  in  the  Movies — Simply  Be  Named  Betty  ! 
Gossip  from  Screenland.    By  H.  B.  K.  Willis 
They  Say.    By  Marion  of  Hollywood  . 
See-Saw,  Marjorie  Daw.    By  Vohdah  Dexter 
Mae  Murray  Contest  Award 
In  Hollywood.    By  Coral  Clyce  . 


Delight  Evans 


Edholm 


4 
6 
10 
11 
12 
13 
14 
15 
16 

18 
20 
21 
23 
24 
26 
28 
30 
31 
32 
34 
36 
38 
46 
48 
57 
58 
60 
61 
62 
65 
66 
72 
74 
76 
94 


Tfyrma 
Talmadge 

She  is  such  a  little 
girl  to  carry  so  much 
love.  Norma  Tal- 
madge has  made  many 
pictures  and  with  each 
picture  she  has  made 
many  friends;  and  her 
latest  film,  "The 
Lady,"  shows  her  in 
such  a  charming  fash- 
ion that  even  if  one 
fan  were  holding  out 
he  MUST  now  suc- 
cumb. 

So  that  makes  it 
unanimous. 

For  the  first  time 
you  can  see  the  brown 
in  her  eyes  in  the 
Hesse  Colorgraph  on 
the  cover. 


Published  monthly  by  Magazine  Builders  Inc.,  at  145  West  57th  Street,  New  York,  N.  Y.,  U.  S.  A. 


J.  Thomas  Wood.  Pres.  Copyright  1924.  Trade  Mark  regis- 
tered. Single  copies  25c;  subscription  price,  United  States 
and  Canada,  $2.50  a  year;  foreign,  $3.50.  Entered  as  second- 
class  matter.  November  30,  1923,  at  the  Post  Office  at  New  York, 
N.  Y.,  under  the  Act  of  March  3,  1879.  Additional  entry  at 
Long  Island  City,  N.  \.  Permission  to  reprint  material  must 
be  secured  from  the  publishers.     General  Executive  .ind  Editorial 

Printed  in  United  States  of    America.      Produced  by 


Offices  at  145  West  57th  Street,  New  York.  N.  Y.  Western 
advertising  offices  at  30  North  Dearborn  St.,  Chicago.  111.;  1004 
Coca  Cola  Bldg.,  Kansas  City,  Mo.  Publishers  also  of  Real  Life 
Stories.  Subscription  orice  United  States  and  Canada,  $2.50  a 
year.  Single  copy  25  cents  each.  Club  rate  for  the  two  maga- 
zines, $4.00  a  year;  foreign,  $6.00. 

> tO-Color        Giles  Printing  Co.,  New  York,  N.  Y. 


SCREENLAND 


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as 


f(l  Knew 
When  She 
<lA  Jjttle 

IN  THE  APRIL 

SCREENLAND 

will  be  found  one  of  the  inter- 
esting stories  in  the  series  of 
articles  written  by  the  child- 
hood friends  of  the  areat. 

Mary  Phi  I  bin  in  the  days 
when  she  was  only  just  a  pretty 
little  unknown  school  girl  was 
a  friend  of  Marian  Smith 
Minthorne  who  has  written  a 
very  interesting  account  of  her 
memories  of  the  girl  who  is 
now  the  brilliant  star  of  uThe 
Phantom  of  the  Opera." 

SCREENLAND  is  always 
glad  to  receive  letters  from  any 
fan  who  has  among  his  treas- 
ured memories  intimate  days 
spent  with  some  playmate  who 
has  since  become  a  popular 
movie  player. 


CYRIL  HUME  wrote  "Wife  of  the 
Centaur,"  which  was  his  first  book;  and 
it  has  made  a  very  successful  film.  We 
hear  much  about  the  extras  who  become 
stars,  the  youthful  damsels  who  become 
leading  ladies;  but  rarely  do  we  hear  of 
the  young  author  whose  first  offering  to 
the  screen  becomes  a  huge  popular  suc- 
cess. 

John  Farrar,  editor  of  The  Bookman, 
writes  interestingly  concerning  Ms  friend, 
Cyril  Hume. 


The  Latest  and 
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Name— 
Address 


City. 


Instrument—     "IV 

(State  instrument  in  which  you  are  interested) 


Mrs.  M.  McConnell — Mankato.  The 
address  of  the  Moving  Picture  World  is 
Chalmers  Publishing  Co.,  516  Fifth  Ave., 
New  York,  and  the  Motion  Picture  News 
offices  are  729  Seventh  Avenue,  New 
York  City.  Three  dollars  is  the  yearly 
subscription  for  either  magazine. 

Rowena.  Bessie  Love  is  actually  5.3, 
but  being  such  a  dainty  little  person  she 
looks  smaller.  Bessie  positively  only 
takes  a  size  2C  shoe;  I  can  swear  to  this 
because  I  was  interested  enough  to  exam- 
ine her  shoes  while  in  her  dressing  room 
recently.    No,  she  didn't  throw  it! 

An  Admirer— Knoxville,  Tenn.  All 
right,  quizzical  mind,  be  satisfied.  Rich- 
ard Dix  is  not  married;  never  has  been. 
He  lives  with  his  mother  and  sister.  Bebe 
Daniels  is  5.5  and  weighs  120  pounds.  If 
you  write  either  Richard  or  Bebe  at  The 
Famous  Players-Lasky  studios,  Long  Is- 
land City,  New  York,  I  am  sure  they'll 
oblige  with  photographs. 

A  Tearle  Fan.  Many  thanks  for  your 
kindly  remarks;  I  really  do  appreciate 
them.  Conway  Tearle  does  not,  I  un- 
derstand, belong  to  either  the  Lambs  or 
Players.  As  Mr.  Tearle  now  makes  his 
permanent  home  on  the  coast  he  has  be- 
come a  member  of  the  L.  A.  Athletic 
Club.  Conway  was  surprised  to  learn  re- 
cently that  his  name  was  Frederick  Levy 

 it  was  the  first  he  had  heard  of  it,  and 

on  inquiring  into  the  matter  discovered 
that  a  Mrs.  Levy  was  anxious  to  claim 
him  as  her  son  or  step-son  or  something. 
I  wouldn't  mind  claiming  the  handsome 
Conway  as  a  relation  myself,  would  you? 
Line  forms  on  the  right. 

Maple  Leaf  and  Phillis  Blake.  Good- 
ness me,  but  Ramon  Navarro  is  the  pop- 
ular boy!  He  was  born  in  Mexico  and 
at  the  present  moment  is  in  Rome  with 
that  hardy  perennial,  the  "Ben  Hur" 
Company.  Yes,  Mary  Pickford  was 
born  plain  Gladys  Smith  in  Toronto,  and 
her  address  is  7100  Santa  Monica  Blvd., 
Hollywood.  Ben  Lyon  was  born  in  At- 
lanta, Ga. — oh,  these  handsome  Southern 
men!  Bennie  is  5.11,  has  dark  brown 
hair  and  dark  blue  eyes.  He's  much  bet- 
ter looking  off  the  screen  than  on.  Re- 
cently I  had  an  interesting  conversation 
with  this  popular  star;  you  certainly 
show  decidedly  good  taste  in  admiring 
him.  He  is  awfully  unassuming,  loves  re- 
ceiving fan  mail,  and,  judging  from  the 
stills  he  showed  me,  you  are  going  to 
like  him  more  than  ever  when  you  see 
his  next  picture  with  Anna  Q.  Nilsson. 

E.  A.  Roller— N.  Y.  C.    Heights  and 
weights  of  the  players  you  mention  are 


as  fphows:  Gloria  Swanson — 5  ft.  3  in., 
112  pounds;  Pola  Negri — 5  ft.  4  in.,  120 
pounds;  Nita  Naldi — 5  .  ft.  5  in.,  130 
pounds;  Betty  Compson — 5  ft.  2  in.,  115 
pounds;  Norma  Talmadge — 5  ft..  2  in., 
120  pounds;  Constance  Talmadge — 5  ft.  - 

5  in.,  120  pounds;  Mary  Pickford— 5  ft., 
115  pounds;  Barbara  La  Mart — 5  ft.  6 
in.,  125  pounds;  Rudolph  Valentino — 5  ft. 
3  in.,  154  pounds;  Jack  Holt — 6  ft.,  173 
pounds;  Antonio  Moreno — 5  ft.  9  in., 
150  pounds;  George  Walsh — 5  ft.  11  in., 
180  pounds;  Conway  Tearle — 5  ft.  7  in., 
170 -pounds;  Douglas  Fairbanks — 5  ft.  7 
in.,  150  pounds;  Eugene  O'Brien — 6  ft., 
160  pounds;  Richard  Barthelmess — 5  ft. 

6  in.,  135  pounds;  Percy  Marmont — 6  ft., 
150  pounds;  Thomas  Meighan — 6  ft.,  170 
pounds.  Alma  Rubens  is  at  the  moment 
with  Associated  Exhibitors  and  her  ad- 
dress is,  care  of  Associated  Exhibitors, 
Inc.,  35  West  45th  Street,  N.  Y.  C. 

A  reply  is  sent  direct  when  stamped 
addressed  envelope  is  enclosed;  other- 
wise letters  are  replied  to  in  these  col- 
umns. 

Bert  Lytell  Fan.  You  have  endowed 
me  with  all  sorts  of  powers  I  fear  I  don't 
possess.  Oh,  now,  behave!  I  read  your 
letter  with  interest  and  will  pass  your 
remarks  on  .to  the  editor.  Bert  Lytell 
was  born  in  New  York  and  belongs  to 
a  family  of  actors.  He  has  been  on 
the  stage  since  he  was  seventeen.  Last 
Broadway  production  was  "Mary's 
Ankle,"  in  which  he  co-starred  with  Irene 
Fenwick.  His  first  picture  was  "Lone 
Wolf"  and  first  starring  success,  "Trail 
to  Yesterday."  He  is  five  feet  ten  in- 
ches, has  dark  hair  "and  hazel  eyes,  and 
weighs  155  pounds.  Was  recently  di- 
vorced from  Evelyn  Vaughn,  and  if  you 
address  him  care  of  Sawyer-Lubin,  383 
Madison  Avenue,  New  York,  all  letters, 
will  be  forwarded. 

Robert  McKim  and  Robert  Adams — 
San  Francisco.  Paramount  announce 
production  in  February  of  "The  River 
Boat,"  which  will  be  screened  under  the 
title  of  "The  Devil's  Cargo."  The  cast 
includes  Wallace  Beery,  Claire  Adams, 
Pauline  Starke  and  William  Collier,  Jr. 
"The  Garden  of  Weeds,"  with  Warner 
Baxter  and  Betty  Compson  in  the  prin- 
cipal roles, .  is  a  Paramount  production. 
Letters  addressed  to  Hden  Green,  care  of 
the  Famous  Players  studios,  Long  Island 
City,  will  be  forwarded. 

Betty  J.  Clemens.  I  should  think  you 
just  were  excited  on  finding  your  mother 
knew  Pola  Negri's  mother.  If  you  ad- 
dress Pola  at  the  Lasky  Studios,  Vine 
Street,  Hollywood,  California.  I'm  sure 


SCREENLAND 


5 


she  will  answer  your  letter.  Address  Joe 
Moore  at  the  Paramount  Studios,  Pierce 
Ave.  and  Sixth  Street,  Long  Island  City, 
N.  Y.  Have  you  seen  Joe  in  Gloria's 
latest  picture,  "Wages  of  Virtue?"  Col- 
leen Moore  will  be  found  at  the  United 
Studios,  Hollywood,  for  the  next  month 
or  two,  after  that  First  National  Pictures, 
383  Madison  Ave.,  New  York,  will  attend 
to  her  mail. 

Velma  T. — Kansas  City.  Of  course 
you  are  not  asking  too  much.  Richard 
of  the  broken  neck — you  know  he  had  a 
wretched  accident  some  months  ago,  don't 
you? — has  his  mail  sent  to  the  F.  B.  0. 
Studios,  Melrose  and  Gower  Streets, 
Hollywood.  If  he  remembers  perhaps 
he'll  tell  you  where  he  spent  the  first 
five  years  of  his  life. . 

R.  F.  Duke.  Gish  is  Lillian's  correct 
name,  and  letters  will  find  her  at  the  In- 
spiration Production  Company,  565  Fifth 
Avenue,  New  York  City. 

Gunvor  Ericsson.  Rin-Tin-Tin  re- 
ceives his  dog  mail  at  Warner  Bros. 
Studios,  5842  Sunset  Blvd.  Strongheart 
has  his  read  to  him  by  Jane  Murnn,  his 
owner,  at  the  Metro-Goldwyn  Studios, 
Culvei  City,  Cal.,  and  Carol  Dempster 
reads  her  own  at  the  D.  W.  Griffith  Pro- 
ductions, 1476  Broadway,  New  York. 
Barbara  Bedford  is  with  the  Thomas  H. 
Ince  Productions,  Culver  City,  and  her 
next  picture  is  "Percy,"  with  Charles  Ray. 
Irene  Rich  says  that  eyes  play  the  lead- 
ing role,  and  the  face  serves  only  as  a 
background  to  bring  out  their  expressive- 
ness and  depth.  In  her  next  picture, 
''This  Woman,"  Irene  makes  her  eyes 
speak  even  more  than  usual. 

Duke — Southport.  Norma  Shearer 
hails  from  Montreal.  She  is  compara- 
tively a  newcomer  but  in  the  two  years 
she  has  been  in  pictures  her  strides  have 
been  rapid.  She  is  looked  upon  in  the 
picture  world  as  a  player  of  beauty  and 
intelligence,  and  her  popularity  is  im- 
mense. Address  her  at  the  Goldwyn 
Studios,  Culver  City. 


The  April  Cover  of 

SCREENLAND 

will  have  a  remarkable  color 
photograph  of 

^JvLarie  Trevost 

which  depicts-,  with  wonder- 
ful realism,  the  beautiful 
coloring  of  this  most  popu- 
lar player. 


Two  Wonderful  Books 

on  FILM  LIFE 


THE  TRUE  AND  ROMANTIC  STORY  OF 
HOW  AMERICAN  GIRLS  BECOME  STARS 

THE 

TALMADGE  SISTERS 

NORMA— CONSTANCE— NATALIE 

By  Their  Mother.  Mrs.  Margaret  L.  Talmadge 
With  an  Introduction  by  Ellis  Parker  Butler 
3  2  Illustrations 
An  Intimate  History  of  the  World's  Most  Famous 
Screen  Family,  With  "Inside"  Advice  to  Other 
Girls  Dreaming  of  Film  Careers 

A  MODERN  FAIRY  STORY  THAT  HAPPENS  TO  BE  TRUE 

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illustrated  with  pictures  of  the  sister  stars,  their  associates  and  scenes  from  their 
plays.  It  tells  in  readable  and  entertaining  manner  the  real-life  romance  whereby 
a  family  of  typical  American  girls  rose  from  humble  surroundings  to  fame  and 
lortune  within  a  few  years.     It's  a  modern  fairy  tale  that  happens  to  be  true." 

— Cincinnati  Times-Star 

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A  Veritable  Encyclopedia  of  the 
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MOVING  PICTURES 

How  They  Are  Made  and  Worked 

By  FREDERICK  A.  TALBOT 

New  Edition,  Completely  Revised  and  Reset.  Numerous 
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It  tells  of  the  romances,  the  adventures,  the  great  preparations  of  marvellous 
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picture  plays.  It  shows  how  inventors  have  overcome  difficulties  up  to  the  present 
status  of  the  business.  It  is  a  popular  account  of  everything  concerning  the  sub- 
ject— trick  pictures  and  how  they  are  produced;  pictures  in  color;  pictures  that 
move  and  talk;  the  making  and  costs  of  the  most  elaborate  "sets"  and  studio 
equipment;  the  risks  taken  by  photographers  and  players;  the  secrets  of  many 
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Either  of  the  above  books  will  be  mailed  on  receipt  of  advertised  price  to  any 

address  in  the  world. 

SCREENLAND  MAGAZINE 

BOOK  DEPT. 

145  WEST  57th  STREET  NEW  YORK 


6 


SCREENLAND 


m 

CAN 

PLAY  IT 

Just  Like 
"he  Expert 
aiiaiiam 


BECAUSE  OUR  NATIVE 
HAWAIIAN  INSTRUCTORS 
WILL  SHOW  YOU  HOW  8 

Be  the  Most  Popular  Member  of  Your  Set.  Play '  VWhat'll 
I  Do",  "Memory  Lane",  "Lazy".  All  the  late  song  and 
dance  hits.  You  can  play  First  Selection  in  Half  an 
Hour  and  Harmonious  Chords  at  ONCE.  Entertain  your 
friends  Play  for  money.  Don't  be  a  wallflower.  Be  the 
Life  of  the  Party. 

FAMOUS  HAWAII ANS  TEACH  YOU 
TO  MASTER  QUICKLY  THEIR  SE- 
CRETS OF  THIS  FASCINATING  MUSIC 

The  instructions  you  receive  from  such  world  famous  ex- 
perts as  Lawrence  Kalaluki,  Walter  Kolomoku,  Frank 
Ferera,  Carl  Seville  and  others  are  invaluable.  NO 
OTHER.  Conservatory  can  even  begin  to  give  you  the 
expert  teaching  and  knowledge  you  gain  through  us. 
ONLY  4  EASY  MOTIONS— to  learn  to  be  able  to 
play  any  music,  popular,  dance, classical,  native  Hawai- 
ian Airs  or  old  time  melodies  and  hymns.  Just  think  of 
it!  You  need  never  have  read  a  musical  note  in  your  life. 
For  that  matter,  even  though  you  haven't  the  slight- 
est knowBedge  of  any  musical  instrument,  we  guar- 
antee to  teach  you  to  play  just  like  native  Hawaiians. 

NEW  INVENTION 
MAKES  IT  EASY 
Our  method  is  so  sim- 
ple, plain  and  easy  that 
you  begin  a  piece  your  first 
v— ; -i  lesson.  In  half  an  hour  you 
\\ ""Jean  play  it!  Thousands  of 
successful  students  prove 
this  to  be  true.  No  matter 
how  little  your  knowledge 

Hof  music  may  be,  you  can 
Beam  to  pBayby  ourplain, 
easy  picture  method. 
COMPLETE  CONSERVATORY  COURSE 
You  get  52  complete  lessons  An  entire  conservatory 
course.  Nothing  is  omitted.  Success  is  assured.  Real 
Hawaiians  instruct  you.  This  is 
the  only  Conservatory  teaching 
Hawaiian  Guitar  exactly  as 
played  by  the  Hawaiians. 
It  is  your  good  fortune 
as  well  as  ours,  that  these 
Native  Masters  of  Hawai- 
ian Guitar  come  to  this 
Conservatory  to  teach. 
WE  FURNISH  YOU 
WITH  EVERY- 
THING. When  you  en- 
roll as  astudent  in  this  con- 
servatory, you  receive 
FREE  a  handsome,  sweet 
toned.  Genuine  Hawaiian 

Guitar— valued  at  $15.00—52  specially  arranged  lessons, 
as  well  as  all  the  necessary  Picks,  Steel  Playing  Bar,  etc. 
There  is  NOTHING  extra  lo  buy;  everything  furnished. 

Yours  Free!  We  mean 
it. There  are  no  strings  tied 
to  this  generous  offer.  You 
get  it  absolutely  free  as 
soon  as  you  enroll  for  our 
course  of  52  easy  lessons, 
taught  by  real  Hawai- 
ians. You  can't  possibly 
lose,  so  mail  the  coupon  at 
once  for  full  information. 

GUITAR  WORTH 
$15.00.  Yes,  that  is  the 
price  charged  in  the  music  stores  for  these  beautiful 
Hawaiian  Guitars.  We  can  afford  to  give  them  away  free 
of  charge  to  every  pupil  because  we  manufacture  them 
in  huge  quantities  in  our  own  factory,  which  is  the 
largest  stringed  instrument  factory  m  the  world" 
SWEET  TONED.  You  will  get  the  same 
haunting,  soothing,  plaintive  fascinating  tunes  ™  c- 
that  the  real  native  Hawaiians  get  on  these 
same  instruments.  Plays  any  kind  of  music,  (i 
40,000  pupils  prove  all  our  claims  are  true  1 


SPECIAL  COURSES 


TEAR  OUT  AND  MAIL 


•"FIRST  HAWAIIAN  CONSERVATORY  OF  MUSIC,  IncT1 
I  Dept. 96  233  B'way,  (Woolworth  Bldg.)  New  York,  N.Y.  ' 
I  Gentlemen:  Please  tell  me  all  about  your  FREE  HAWAI- 
I  IAN  GUITAR  offer,  and  all  about  the  course  of  lessons 
|  under  native  Hawaiian  Instructors,  by  your  patented 
I  picture  method. 

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|  Address  

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creen 


New  York  City  has  its  movie  gossip 
as  well  as  all  the  movie  money. 


IMAGINE  the  thrill  of  being  only 
seventeen  years  old,  and  coming  to 
New  York  City  from  California,  and 
when  you  got  off  the  train  to  step 
into  a  howling  mob  of  people,  assembled 
there  to  greet  you!  Cameras,  still  and 
motion,  trained  on  you  for  the  news- 
papers and  the  news-reels;  delegations 
of  girl  and  boy  scouts  to  shake  your 
hands;  a  group  of  reporters  crowding 
around  demanding  your  "impressions" — 
as  if  you  had  any  just  then! — and  a 
great  film  magnate  saying,  "Welcome, 
Peter  Pan — I  mean  Miss  - Bronson!" 

Well,  that's  just  what  happened  to 
Betty.  She  came  two  days  before 
Christmas,  arriving  a  little  before  ten  in 
the  morning.  After  the  preliminary  ex- 
citement at  Grand  Central  Station  she 
was  whisked  away  to  face  more  photog- 
raphers and  interviewers;  and  almost  be- 
fore she  had  time  to  take  a  deep  breath 
she  was  all  dressed  up  as  the  hostess  of 
her  own  great  big  Christmas  party  at 
the  Hotel  Plaza  that  night,  where  several 
hundred  of  filmdom's  aristocrats  and  rep- 
resentatives of  all  the  important  papers 
and  magazines  were  assembled  to  do  her 
honor.  Her  picture,  "Peter  Pan,"  was 
scheduled  for  premiers  at  both  Rivoli 
and  Rialto  Theatres  on  Broadway,  be- 
ginning December  28.  And  Betty,  her 
curly  bobbed  head  bobbing,  was  dancing 
like  an  elf  among  the  critics  who  were 
to  tell  the  world  if  Betty  Bronson  was, 
indeed,  the  "Peter  Pan"  of  Barrie's 
dreams.  (Incidentally,  they  told  the 
world  in  no  uncertain  terms.) 

It  was  a  nice  party,  with  a  tree,  a 
Santa  Claus  and  a  score  of  Broadway 
beauties  dressed  as  Peter  Pans.  Jesse 
Lasky  received  from  Santa  Claus  a  lit- 
tle gold  thimble,  which,  as  he  explained, 
means  in  Never-Never  Land  lingo  a  kiss. 
Betty's  snowy-haired  mother  was  present, 
her  handsome  face  glowing  as  she 
watched  her  newly-famous  chick.  Betty 
danced  with  Mr.  Lasky  and  Herbert 
Brenon,  the  man  who  directed  her  in 
"Peter  Pan,"  and  also  with  a  very  ar- 
dent cadet  who  looked  as  if  he  had 
stepped  out  of  a  set  for  "Classmates." 
Betty  wore  a  very  girlish  dress  with  ruf- 
fles, such  as  any  little  boarding-school 
girl  might  have  worn  to  a  Christmas 
party,  even  if  it  was  her  own.    She  has 


a  shy,  engaging  little  air  which  capti- 
vated everybody.  She  looks  a  little  more 
than  her  advertised  seventeen  years — in 
fact,  she  is  one  of  those,  lucky  mortals 
over  which  the  fairy  godmother,  Madame 
Movie,  has  waved  her  magic  wand,  from 
which  Betty  emerges  the  spirit  of  youth 
and  joy. 

Betty  Bronson  is  securely  ensconced  as 
a  Famous  Players  luminary;  but  the  com- 
pany's plans  for  her  are  as  yet  indefinite. 
At  first  it  was  announced  that  the  won- 
der-child of  "Peter  Pan"  would  be  starred 
next  in  a  Herbert  Brenon  production  of 
the  popular  novel,  "The  Little  French 
Girl."  But  then,  as  some  one  has  wick- 
edly conjectured,  Paramount  read  over 
the  story  and  discovered  that  the  heroine 
gets  married,  or  something  like  that;  and 
so  it  became  out  of  the  question  to  pre- 
sent Betty  in  the  role,  as  their  inten- 
tions toward  little  Miss  Bronson  are  to 
keep  her  in  parts  which  do  not  call  for 
anything  even  remotely  suggesting  sex. 
The  Wendy  of  "Peter  Pan,"  winsome  lit- 
tle Mary  Brian,  has  been  mentioned  as 
the  girl  who  will  be  little  and  French  in 
the  contemplated  production  of  the  best 
seller.  Bertie  Brenon  will  undoubtedly 
pilot  Betty  through  her  second  picture, 
whatever  it  may  be, 

*    *  * 

Two  of  the  most  conspicuous  people 
in  any  film  gathering  right  now  are 
Ben  Lyon  and  Peggy  Joyce.  Now  that 
Peggy  has  definitely  cast  her  French  hat 
into  the  ring  for  motion  picture  honors 
she  has  gone  in  for  it  with  a  verve,  ap- 
pearing at  almost  all  of  the  film  first 
nights,  and  also  being  among  those  pres- 
ent at  the  various  small  and.  select  gath- 
erings given  by  the  elite  of  screenland 
in  New  York.  Ben  proves  himself  a  cap- 
ital entertainer — at  one  party  he  ap- 
propriated a  handy  lampshade  and  did  a 
daring  dance  that  was  very  funny.  He 
has  become  an  idol  of  the  newspaper 
ladies  as  well  as  the  stars.  And  so  far 
he  .hasn't  had  himself  engaged  for  more 
than  a  month. 

jT/\  tjess  what?  You  never  could.  Bebe 
Daniels"  is  being  squired  about  town 
by  none  other  than  Maurice — don't  know 
his  last  name — of  the  internationally 
smart   and  celebrated  dancing  team  of 


SCREENLAND 


7 


ONLY  $^ 


Maurice  and  Hughes,  now  holding  forth 
at  one  of  the  selecter  supper  clubs  of 
the  rialto.  Maurice  used  to  dance  at- 
tendance occasionally  on  the  -  popular 
Connie  Talmadge.  But  although  he 
would  and  did  dance  with  screen  stars 
he  would  never  step  before  a  camera  with 
them.  He  has  reversed  this  rule  for  Bebe, 
it. is  said,  having  consented  to  dance  in 
a  forthcoming  Daniels  production. 

^      H4  jfc 

OOR  little  Connie!  Everybody  has 
been  condoling  with  her  in  her  great 
sorrow.  She's  so  game  about  it,  too,  such 
a  good  little  sport,  that  we  almost  wish 
it  might  have  happened  to  some  one  else. 

Her  family  went  to  Europe,  and  she 
got  left  behind!  She  came  east  with 
her  mother,  Joe  Schenck,  and  sister 
Norma  for  the  express  purpose  of  em- 
barking on  a  long  and  well-earned  vaca- 
tion abroad.  But  brother  Joe  got  busy 
while  in  New  York,  and  before  she  knew 
it  he  had  arranged  for  the  release  of 
more  Constance  Talmadge  comedies. 
She  thought  she  was  'way  ahead  in  her 
schedule  but  under  the  new  arrangement 
she  had  to  go  right  back  to  Hollywood 
and — work!  She's  such  a  merry,  gay 
little  soul,  such  a  cheerful  comrade  and 
good  fellow  that  we  wish  she  could  have 
had  the  vacation  that  her  heart  was  so 
set  on,  even  if  the  fan  world  will  be 
the  winner. 

But  while  she  was  here  she  managed 
to  make  New  York  sit  up  and  smile. 
Her  slender,  graceful  figure  was  seen,  in 
gorgeous  new  gowns,  at  all  the  first  nights 
and  dancing  parties  that  were  given  while 
she  was  here.  There's  always  such  a 
perfect  mob  of  men  around  Connie  that 
it's  hard  to  tell  whom  she's  doting  on 
at  the  time,  but  I  really  think  she  is 
perfectly  heart-whole  and  fancy-free  at 
present.  The  Talmadges  in  their  apart- 
ment at  the  Hotel  Ambassador  gave  one 
lovely  tea  party,  attended  by  Anita  Loos 
and  John  Emerson,  Dick  Barthelmess, 
John  Golden,  the  producer  of  "clean 
plays,"  whom  William  Fox  has  induced 
to  become  also  a  supervisor  of  clean  pic- 
tures; Mrs.  Al  Smith,  the  governor's 
wife;  Grace  La  Rue  of  vaudeville,  Con- 
way Tearle  and  his  wife,  Adele  Rowland, 
Earle  and  Mrs.  Williams  and  many  oth- 
ers. Oh,  yes,  and  the  Gish  parrot.  This 
parrot  is  one  of  the  Gishes'  most  cher- 
ished treasures;  and  when  the  girls  had 
to  dash  out  to  California  for  a  personal 
appearance  for  "Romola"  they  left  the 
bird  with  their  friends  in  the  same  hotel. 
The  parrot  was  the  most  mournful  in 
that  gay  gathering;  he  alternately  kept 
crying  for  "Doroth-ee"  and  then  "Lil- 
lian." 

The  family  life  of  even  such  a  busy 
family  as  the  Talmadges  is  not  negligible 
by  any  means.  There  were  at  least  a 
dozen  photographs  of  the  two  babies,  Nat- 
alie and  Buster  Keaton's  kids,  around  the 
room.     Norma  is  looking  younger  and 


more  slender  than  she  has  since  her  Vita- 
graph  school  days,  and  she  remains,  as 
always,  the  most  natural  of  any  of  our 
"bigger"  stars.  She  probably  owns  more 
sables  and  pearls  than  any  other  actress, 
having  them  lavished  upon  her  by  her 
adoring  husband;  but  she  can  get  more 
kick  out  of  a  ham  sandwich  at  Childs' 
than  caviar  at  the  Ritz.  And  that's  what 
we  call  being  human. 

*  *  * 

Ts  Dick  Barthelmess  taking  himself  seri- 
^  ously?  I  don't  know;  but  he  has 
bought  for  his  future  film  use  a  play 
called  "Great  Music,"  the  hero  of  which 
has  temperament,  temper  and  almost 
everything  else  before  the  final  curtain, 
including  leprosy.  Maybe  Dick  will 
change  the  story  as  he  has  the  title — to 
"Soul  Fire." 

Saw  him  coming  out  of  Dunhill's  on 
Fifth  Avenue — the  "tobacconists,"  just 
before  the  holidays;  with  his  arms  full 
of  packages.  And  will  you  believe  it, 
the  spectacle  of  him  in  his  raccoon  coat 
actually  held  up  traffic!  Not  that  we 
blame  'em. 

*  *  * 

There's  a  play  in  New  York  now  so 
naughty  that  several  sheriffs  have 
been  around  to  see  it,  with  the  view  of 
slapping  its  hands  if  it  isn't  good.  So 
far  "Ladies  of  the  Evening"  have  re- 
mained unchastened.  And  I  should  think 
that  the  mere  sight  of  James  Kirkwood 
in  the  cast  would  be  enough  to  whitewash 
any  lady.  James  and  Lila,  who's  back 
in  pictures,  have  established  a  new  home 
in  Manhattan  for  themselves  and  Jimmy 
Jr. 

*  *  * 

A  former  film  star  who  has  come  back 
in  the  legit,  is  H.  B.  Warner.  He 
is  repeating  his  old  success  in  "Jimmy 
Valentine"  in  another  crook  drama,  called 
"Silence,"  one  of  the  outstanding  hits  of 
the  season,  as  they  say.  Mr.  Warner  is 
an  actor  and  a  gentleman.  He  married 
Rita  Stanwood,  once  a  popular  stage 
player,  and  they  have  a  fine  family  of 
little  Warners,  to  whom  H.  B.  is  so  de- 
voted you  wonder  when  he  has  time  to 
rehearse.  He  used  to  make  pictures  for 
Thomas  H.  Ince,  and  "Shell  43"  was  one 
Ed  like  to  see  re-issued. 


N 


orma  Talmadge  had  a  nice  Christ- 
mas present  from  her  husband— 
among  others.  Mr.  Schenck  purchased, 
before  going  to  Europe,  the  film  rights 
to  "Madame  Pompadour."  the  musical 
comedy  in  which  Hope  Hampton  was  to 
have  appeared,  but  which  instead  features 
Wilda  Bennett.  What  a  lovely  Pompa- 
dour Norma  will  make! 

*    *  * 

TC«lsie  Ferguson  is  very  good  in  a  bad 
^  play,  "Carnival,"  another  concession 
to  the  Molnar  craze,  which  has  appar- 
ently hit  producers.  Come  on  back  to 
pictures,  Elsie. 


>od 


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CITY  STATE. 


8 


SCREENLAND 


Screenland's 

Directory  of  Studios  for 
Dancing  Instruction 

Dance  For  Health  and  Happiness 


Consult    this  Directory 
for    instruction    in  the 
dances  of  all  na- 
tions. 

Folk,  military, 
acrobatic,  social 
and  fancy  dancing 

Dance  for  Strength 


New  York 


New  York 


New  York 


Phone  BRYANT  8945 
for 

Modern  Sensational 
Stage    D  a  n  o  i  n  & 
Stretching    and  Lim- 
bering Exercises 

143-5  W.  43rd  St. 
N.  Y. 
East   of   Time  Square 


B.  BERNARDI,  M  B. 

Formerly    ballet    master    Breslau  Theatre: 
Solo    danseur,    Grand   Opera,  Paris, 

Royal  Theatre,  Munich 
Personal  Instruction  in   Toe,  Ballet, 
Oriental,    Spanish,  etc. 

Teachers'   Course   Children's  Classes 


Classes  now  training   for  forthcoming 
productions 
Students  of  approved  talent  are  offered  an 
intensive  course  on  attractive  terms 


SEND  FOR  BOOKLET 
124  West  75th  St.  New  York 

Telephone  Endicott  5144 


Texas 


SPROULE  SCHOOL 

of  Dancing 

Interpretative:  Ballet:  Classic 

A  BOOK  of  rhythmically  inspiring 
■l*-  music  especially  suited  to  69  bene- 
ficial '  and  beautifying  exercises  in 
body  building,  as  taught  by  Ann  and 
Judith  Sproule  at  the  American  Na- 
tional Convention  and  Normal  School, 
is  now  ready. 

Send  for  Information 

1882  McFadd  in  Avenue 
Beaumont  Texas 


Ind  iana 


I  Do  You 


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"Teaching  Plus  Business  Man- 
agement For  Success"  will  prove 
a  way  for  YOU  to  become  a  suc- 
cessful teacher.  Mailed  upon  re- 
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\  M  1 1  e.  TheoHewes 

]  SCHOOLS  of  DANCING 

I  15  WEST  16th  ST.,  INDIANAPOLIS,  IND. 


I  HERMANN  &  DEMUTH 

5  SCHOOL  OF  ACROBATICS 

-  1658  Broadway  Phone 

I  New  York  Circle  10319  ! 


RUDOLPH  VALENTINO   was  taught  the  Ar- 
gentine Tango  by  the  famous  DON  LENO  ball- 
100m  stage  117  W.  48th  St.,  N.  Y. 
BRYANT  1194  Est.  20  Years 


CLIFF  JEROME 

formerly    of    "NED    WAYBURN  STUDIOS" 
Specializing  in       p.  r-* 
Sensational  Stage  Dancing 

Special  Rates — $5.00  a  week 
A  professional  "specialty"  routine  every  week 

Studio  711,  1658  BROADWAY 
Phone  CIRCLE  9121  New  York  City 


ROUTINES  ARRANGED,  ACTS  PRO-  = 

DUCED— ALL   STYLES   TAUGHT  : 

LILY  LENORA  = 

Late  i 

SOLO  DANCER  AND  TEACHER  i 

With  i 

JOHN  TILLER,  LONDON  i 

Private  and  Class  Lessons  • 

Phone   Circle   3127  = 

Suite  310            1658  Broadway,  New  York  ■ 


THE  ORIGIN  OF 
DANCING  MAY  BE 
TRACED  TO  A  UNI- 
VERSAL DESIRE  OF 
EXPRESSING  E  M  O- 
TION  BY  ACTION 


Chicago 


MiniiiiniiiBMitiai] 


The 


Hazel  Sharp  School 
1  of  Dancing 

I  25  EAST  JACKSON  BOULEVARD 
I  CHICAGO 

j    Classic,  Ballet,  Character,  Ballroom  Dancing 


MME.  MARIE  YUNG 

EUROPEAN    BALLET  SCHOOL 

Formerly   Instructor   of  the 
CHICAGO  GRAND  OPERA  BALLET 
Downtown  Studio  North  Side  Studio 

Fine  Arts  Building       The  North  End  Club 
410  So.  Michigan  Ave.    6200  No.  Sheridan  Rd. 
CHICAGO,  ILLINOIS 


MARTIN  FERRARI 

Progressive  School  of  Dancing.  Special  feature 
for  Motion  Picture  Artists.  Instructions  in  the 
art  of  Mimeodrama  and  Pantomime. 

16S8  BROADWAY,  NEW  YORK 
Phone  Circle  1045 5 


Specializing 

in  Acrobatic 

Instruction 

for 

Sensational 

Stage 

Dancing 

Illustrated  Book,  $1.25,  Cash  or  M.  O. 

Course    contains    Sensational  Acrobatic 
Dancing,  Buck  and  Wing,  Bar  and  Stretch- 
ing   Exercises.      Mile.    Amy   Mantova  and 
Eddie    Russell,    both    formerly    New  York 
Hippodrome,  are  now  with 

GEO.  COLE  STUDIOS 

249  WES.T  48th  ST.,  NEW  YORK  CITY 


From   the  Russian  Imperial  Theatre  of 
Petrograd 

CONSTANTIN 

KOBELEFF 

Imperial   Russian   Ballet  School 

of     Classic,     Character    and  Interpretative 
Dancing,   Teaching,   Coaching  and  Polishing 
Specialties    in    Conformity    With  Prevailing 
Theatrical  Demands 
Class  and  Private  Instruction 
Special   Classes   for  Children 
PLAZA  ART  BUILDING 

9  East  Fifty-ninth   Street  New  York 

Tel.  Regent  7671  WRITE  FOR  CIRCULAR 


M  ilwaukee 

I  The  G.  M.  Caskey  School 

~  "Home   of    Well-trained  Dancers" 

I      NORMAL  COURSE  FOR  TEACHERS 

t  Illustrated   circular    of  twelve 

S  Athletic    Dances    Mailed  Free 

=  69  Wisconsin  St.    Milwaukee,  Wis. 


REAL  LIFE  STORIES  for  April  will  have  many  stories  each 

complete;  and  while  they  all  will  deserve  close  attention  and  repay 
with  delightful  entertainment,  there  is  one  story  that  you  will  par- 
ticularly enjoy.  Read 


MYSTERY 


at 


Lucky  Strike 


1>y  Howard  ^Morgan 

"1  know  eet  ees  so.  An'  Dave  Halchell  who  gets  de  Croix  de 
Guerre  from  France — maybe  e — he  we  el  help  me?" 

She  came  close.   Rested  her  hand  on  his  arm.    Her  eyes  were 
suddenly  shining;  cheeks  flushed. 

Halchell 's  heart  pounded  wildly.  "W'y — w'y  sure,  Miss.  I  was 
figurin'  on  stickin'  around  here  a  while,  anyhow.    I  heard  back  in 
Malemute  they  was  havin'  a  hard  time  findin'  a  mail  runner.  Last 
three  got  killed  off  sudden  like,  between  here  an'  Sudbury.   Had  a 
idee  I  might  apply  for  the  fob.   An'  now — I  know  I  will." 


Never  zvas  a  honeymoon 
more  adventurous  than 
Da-ve  Hal  ch  ell's  and 
little  Marie's.  Marie 
brought  Trouble  for  her 
doner,  but  the  trail  leads 
to  happiness. 


9 


John  (filbert 

Follows  his  remarkable  success  in  "Wife 
of  the  Centaur"  with  the  role  of  Danilo 
in  "The  Merry  Widow." 


CREENLAND 


192$ 


SCREENEAND  is, proud  to  carry 
at  the  masthead  this  month  the 
name  of  Mrs.  Rudolph  Valentino. 
In  the  movie  world  where  . artistic 
temperaments  are  not  always  " sym- 
pathise" it  is  a  delight  to  look 
upon  beautiful  Natacha — as  good 
and  helpful  a  wife  as  ever-:  darned 
a  sock — or  designed  a  million  dollar 
production.! 


Photograph  by  Feature  Fotos 


11 


r 


Q  Rupert  Julian  personally  supervises  the  make-up  of  extras  working 
in  his  latest  production,  "Phantom  of  the  Opera."  See  all  the 
phantasies!     Julian's  perfect  dreams 


WELL,  WHO  WOULDN'T? 


01  Al  Wilson  in  "The  Air  Hawk"  lives  up  to  the  title  and  causes  con- 
sternation among  the  poultry.   Gosh,  how  they  hate  it! 


1  '■ 


<yLn  Open  J^etter  to 

rich  Von  Stroheim 

By  Myron  Xohel 

Dear  Erich  : 


HEN  I  heard  that  Greed  was  having  its 
premiere  I  cancelled  my  rickets  for  the  Zieg- 
feld    Follies,    broke    an    engagement    to  go 


dancing  with  some  friends,  telephoned  home  to  have  an 
early  supper  and  rushed  with  my  wife  to  the  Cosmopoli- 
tan theatre  to  see  your  feature  picture.  I  guess  you  will 
believe  me  after  that  when  I  say  that  you  are  the  only 
film  director  that  can  upset  my  home  that  much.  I'm 
newly  married. 

Well,  Erich,  I  guess  we  all  fall  down  some  time. 
Only  why  rub  it  in.  Two  years  and  then — a  series  of 
sewer-pipe  love  scenes  and  a  lot  of  daubs  of  yellow  on  the 
film  to  look  like  gold ! 

I  realize  that  all  these  touches,  except  the  yellow, — 
even  the  Pluto  water  bottles — may  all  be  good  art.  What 
I  know,  however,  is  that  they  are  certainly  not  good  taste. 
I  do  not  object  to  your  little  ironies  in  a  picture  of  high 
life.  What  turns  my  stomach  is  vour  malicious  vulgarity 
in  a  picture  of  low  life. 

Greed,  in  my  estimation,  as  a  picture  was  not  as  good 
as  the  book.  The  film  lacked  contrasts.  It  lacked  high 
spots  and  low  spots.    It  was  all  low  spots. 

Erich,  I  think  I  know  the  reason  that  your  picture 
was  not  convincing.  You  hit  your  public  too  near  home. 
You  got  away  from  the  continental  sort  of  thing  in  which 
you  are  supreme.  You  know  the  foreign  run  of  mind. 
You  don't  know  ours.  We  don't  think  and  we  don't  act 
the  same  way  over  here  that  they  do  abroad.  You  were 
trying  to  tell  us  about  something  that  we  know  better  than 
you  do.    No  hard  feeling,  Erich.    Better  luck  next  time. 


OVIES 


WHEN  A  NEW  FILM  PRODUCTION  IS  SHOWN 


Marion  Dav- 
ies,  who  gave 
u  s  "Janice 
M  e  r  edith." 
The  crowd  at 
i  t  s  opening 
created  a  rec- 
ord for  mass 
and  class. 


"S  night-time  along  the  Great 
Bright  Way.  The  gayest  street 
in  the  world  is  lighting  its 
"lamps  and  opening  its  doors.  A 
thousand  signs  twinkle  their  invita- 
tions to  the  Big  Show  in  the  main 
tent.  Night-time — bright-time — car- 
nival. 

Pretty  soon  portly  men  in  musical- 
comedy  costumes  come  out  and  sur- 
vey the  scene.  They  are  joined 
presently  by  other  men,  not  so 
portly,  with  anxious  eyes'  that  scan 
the  street.  These  are  the  amuse- 
ment merchants — the  doormen,  the 
house  managers,  and  the  press  agents 
of  the  pleasure  palaces  along  Broad- 
way. As  limousines  and  lowly  cabs 
begin  to  draw  up  to  the  doors  of  the 


The  fan  feels  that 
here  is  an  opportun- 
ity    to    exchange  a 

friendly  smile  with 

each  favorite. 


theatres,  the  custodians  of  the  entrance  and  of  the  box- 
office  breathe  simultaneous  sighs  of  relief — the  first  con- 
tingent of  customers  has  arrived!  Lovely  ladies  in  ermine 
capes  descend  daintily  and  trip  ahead  of  their  escorts 
through  the  throngs  now  surging  along  the  street — up  and 
down,  up  and  down.  Occasionally,  at  an  astonishing  ankle, 
Ihe  throngs  will  slow  up  ever  so  slightly  to  get  a  longer 
glimpse;  but.  as  the  owner  of  the  enticement  vanishes  into 
the  lobby,  it  will  resume  its  tireless  march,  up  and  down, 
up  and  down,  as  at  the  order  of  some  huge  and  unseen 
traffic  cop. 

On  some  nights,  between  eight  and  half-past  of  the 
clock — that  giant  clock  that  no  longer,  alas,  silently 
ticks  above  Longacre  Square,  but  by  its  own  hands 
has  been  obliged  to  give  way  to  a  gigantic  adver- 
tisement for  collars  or  coffee — a  subdued  ex- 
citement seems  to  pervade  the  street.  Some- 
thing extraordinary,  obviouslv,  is  about  to 


At  the  first  night  of  a  new  film 
■only  the  shadows  go  to  the  stage 
entrance;  the  stars  themselves 
and  their  star  friends  enter 
ihe  theatre  between  lanes 
of  "First  Night  Fans." 


16 


"First  Nighters" 

TO  CRITICAL  BROADWAY— By  Delight  Evans 


This  photograph 
was  taken  at  the 
Broadway  Theatre 
at  one  of  Mr. 
Moss's   big  nights. 


happen.  There  is  an  atmosphere  of  unrest  and  expect- 
ancy; it  possesses  the  throngs  in  their  ceaseless  drill,  and 
even  ties  up  the  traffic.  Suddenly,  there  is  a  boom,  and 
the  crowd  rushes  forward  in  the  glare  that  accompanies 
it.  Two  of  the  street's  biggest  traffic  cops  have  held  up 
their  gloved  hands,  a,nd  traffic  is  automatically  suspended. 
Taxicab  drivers  fret  and  fume  as  their  tardy  freight 
mutters  imprecations.  Limousines  and  their  costly 
cargoes  are  held  up,  too,  while  the  first  act  gets  well 
under  way  without  them.  The  passengers  of  the 
surface  cars  crowd  to  the  doors  and  windows  to 
watch  the  show.  Aunt  Sarah,  shoved  for- 
ward by  the  curious  crowds,  finds  breath  to 
gasp  to  Uncle  Ben:  "What's  all  the 
shooting  for?" 

Somebody's  elbow  is  in  Uncle  Ben's 
mouth,  so  he  can't  answer.  But 
as  it  is  his  first  visit  to  Broad- 


A   ripple   of  sound  goes  over 
crowd  as  each  person  tells  his 
neighbor   the  name   of  the 
celebrity    who    rims  tin 
gauntlet   at    the  movie 
premiere. 


way.  he  doesn't  know  the  answer  yet, 
anyway.  It's  only  the  thousands 
who  surged  at  the  sound  of  the  boom 
and  the  sight  of  the  sudden  flash  of 
light,  who  know.  It's  a  show — put 
on  just  for  them — a  great  show  for 
which  there  is  no  admission  require- 
ment except  strength  and  determina- 
tion— and  no  price  to  pay  except, 
maybe,  a  smashed  chapeau,  or  a 
bruised  ankle,  or  an  aching  instep. 
And  it  is  well  worth  it — just  ask 
any  member  of  the  audience  who 
rushed  forward  as  one  man  when  the 
roar  of  the  flashlight  cameras  an- 
nounced a  new  movie  first  night  on 
Broadway. 

There  was  never  anything  like  it 
in  the  good  old  days — any  old-timer 
(Continued  on  Page  91) 


Lillian  Gish. 
Her  wonder- 
ful "Romola" 
brought 
Rome  to  the 
screen  and  all 
Neiv  York  to 
the  George  M. 
Cohan  T  h  e- 
atre. 


17 


"Faith  and  belief  in  everything  good  has  brought  him  the  light. 


How  Stuart  Taton, 
sightless  and  helpless, 
bluffed  misfortune 
and  won. 


WEE  bit  o'  faith  packs  an 
awful  wallop,"  says  Stuart 
Paton.  And  if  only  you 
readers  of  SCREENLAND 
could  step  into  the  room  where  this 
man  who  wouldn't  quit  lives  and  have 
him  tell  you  his  story!  His  story  of 
two  years  blind. 

It's  a  small  room;  the  room  of  an 
artist,  with  paintings  hanging  on  all  the 
walls,  and  one,  of  water  and  tiny  ships 
sailing  into  a  safe  harbor,  standing  on 
an  easel.  It  seems  to  be  waiting  for 
the  last  few  strokes  of  the  brush. 

It  comes  to  you — he's  been  blind  for 
two  endless  years;  and  for  the  first  time 
you  really   sense  the  horror,  the  terror  of   such  awful 
darkness. 

But  a  wee  bit  o'  faith  packs  an  awful  wallop,  and  Stuart 
Paton  believed — that's  the  word,  believed — and,  so  believ- 
ing, won. 

They  told  me  he  was  tired  and  had  been  lying  down,  but 
would  be  right  in.  I  don't  know  what  I  expected  him  to 
look  like  or  what  I  figured  he'd  say,  but  I  didn't  think  he'd 
be  a  big  Scotchman,  with  a  big,  soft  smile.  I  certainly 
didn't  expect  him  to  ask  why  his  story  would  interest  any- 
body. He  was  "only  a  director,  a  director  of  'movies,'  "  he 
said.  I  assured  him  there  were  thousands  of  us  waiting 
to  hear  it.  And,  little  by  little,  with  a  few  smiles  and 
perhaps  a  few  catching  lumps  in  the  throat,  he  told  me. 

It  was  1922 — July  sixth,  to  be  exact.  Stuart  figured 
he'd  spend  three  dollars,  go  to  the  Auditorium  and  take 
in  the  Friday  night  boxing  bouts. 

"And,  mind  ye,  listen,'"  he  said,  "by  some  peculiar  trick 

18 


UFF 


Brook 


Q  He  is  a  big 
Scotchman,  with 
a  big,  soft  smile. 


o'  fate  I  took  wi'  me  that  night  Owens,  my  chauffeur. 
Owens,  the  clever  lad,  had  won  a  gold  medal  during  the 
World  War  as  a  first-aid  artist,  and  to  him  goes  a  great 
debt  of  thankfulness  for  the  first  aid  that  evening  which 
probably  made  the  return  of  my  sight  possible." 

.With  one  more  bout  to  finish  the  evening's  entertainment, 
the  manager  of  the  Auditorium  stepped  into  the  ring.  It 
seemed  that  the  policeman  on  the  beat,  the  cop  who 
watched  their  cars  and  helped  make  their  Friday  evening 
at  the  bouts  more  comfortable  each  week,  had  been  in 
an  accident.  Quite  badly  hurt,  too.  Didn't  have  much, 
and,  well— his  kids  and  wife  were  kind  of  hard  put,  and 
couldn't  they  play  "turnabout"  as  fair  and  sort  of  help 
see  the  poor  devil  through2  That  was  the  manager's  plea, 
and,  without  a  second's  hesitation,  the  pennies,  nickels, 
dimes — even  dollars — were  coming  from  all  around  the 
arena  into  the  ring. 

Paton  turned.  Great  scouts,  these  fellows,  when  a  guy 


01  T  o  o  t  s  i  e  and 
Jimmy,  Stuart 
Paton' s  compan- 
ions in  the  dark 
hours  whose 
stout  hearts 
helped  him  win 
the  fight  against 
the  grim  shadozv. 


was  in  bard  luck.  Crash!  And  one  of  those  gracious, 
relieving  silver  dollars  struck  him  squarely  in  the  right 
eye.  Oh,  Faith,  come  to  him  now,  for  the  eyeglass  is 
broken  into  hundreds  of  pieces  and  each  piece  seems  to 
have  entered  that  delicate  eye! 

That,  I  say,  was^the  right  eye.  Stuart  Paton  was  bom 
blind  in  his  left.    Oh,  wee  bit  o'  faith  

But  the  Great  War  had  given  us  Owens,  first-aid  man, 
and  with  that  first-aid  skill  he  succeeded  in  extracting 
the  two  largest,  most  deadly  pieces  of  glass. 


Q  On  location  for  "Bavu,"  the  last  picture  di- 
rected by  Stuart  Paton  before  the  light  failed. 


"And  to  think,''  laughs  the  canny  Scot,  "there  was  one 
more  bout  to  do.  Weel,  I'm  still  figuring  on  a  rebate  for 
the  last  reel  I  paid  for  and  couldn't  see!"  . 

For  two  hours  and  ten  minutes  they  worked  on  his  eyes, 
giving  him  no  anaesthetic  of  any  kind.  The  doctor  said 
he  could  work  better  without  it,  and  the  chances  of  recov- 
ering sight  would  be  greater.  Twenty-three  pieces  of 
glass  were  removed  from  -the  eyeball,  the  bandages  put 
on,  and  then  the  long,  long  wait  for  morning. 

It  came — somehow  it  always  does— and  with  it  Doctor 
Bronson.    Paton  went  on. 

"  'Now  for  the  fun,'  I  laughingly  told  him.  and  he 
started  removing  those  wearisome  bandages.  He  seemed 
to  stop,  and,  says  I,  'Weel,  Doc,  pull  off  that  last  one  so  I 
can  see.  It's  dark.'  I  heard  him  step  across  the  room  and 
then,  'Paton,  that  last  bandage  will  never  come  off,'  said 
Dr.  Bronson." 

And  to  Stuart  Paton,  actor,  artist,  director,  came  the 
realization  that  sight  would  never  again  be  his.  He  would 
never  see  to  finish  painting  (Continued  on  Page  90) 


19 


Qara  "Bow 


Photograph  by  Lars  Moen. 


>e  JioST  >^LUABLE  Z3aBY 
V    ON  EARTH 

Horoscope  of  Jackie  Coogan's  Brother  Shows  He  Will  Earn  Millions 


GlMrs.  Jack 
Coogan  and 
her  mother, 
M rs.  Frank 
Dolliver,  at 
the  door  of 
their  Holly- 
wood bung- 
alow. Jackie 
Coogan  not 
only  won  a 
place  for 
himself  but  . 
h  i  .s  fame 
has  mad  e 
his  baby  broth 
already  w  e 
known. 


THE  super  -  sensitive  and 
highly  emotional  sign  Can- 
cer was  rising  when  little 
"Bobby"  Coogan  was  born. 
The  Moon  being  his  "ruler,"  or  the 
planet  having  the  most  influence  on 
his  life,  all  the  marvelous  influences 
the  Moon  receives  will  benefit  him 
personally.  Little  Bobby  will  be 
very  restless,  fond  of  change,  and 
very  receptive  to  his  environment 
and  surrounding  conditions.  He 
should  have  his  own  room,  and  un- 
der no  circumstances  be  allowed  to 
sleep  with  older  persons,  or  any  one 
whose  health  isn't  up  to  par,  for  he 
would  readily  take  on  their  condi- 
tions. 

It  is  very  seldom  that  the  "Ruler" 
of  the  chart  is  in  aspect  to  so  many 
planets  that  promise  so  much  good. 
The  Moon  also  rules  the  house  of 
money  and  is  in  favorable  aspect  to 
Uranus,  the  planet  ruling  moving 
pictures;  and  also  to  Mars,  the 
planet  of  force  and  energy,  both  of 
these  being  in  the  house  of  his  busi- 
ness activities,  and  all  three  favorably 
aspecting  Venus,  the  planet  of  beauty 
and  the  artistic  side  of  the  nature, 


0.  Mr.  Jack  Coogan,  proud 
father  of  Jackie  anl  his  new 
brother,  Robert  Coogan. 


J"  161 


pM  u  fur 


Q_  Astrologer's  Chart,  by  means  of 
which  the  influences  which  control 
the  destiny  of  little  Robert  Coogan 
are  plotted. 


By 

Jane  Carleton 


which  is  in  the  house  of  the  amuse- 
ments of  the  public,  showing  con- 
clusively that  little  Bobby  should  be 
a  picture  star  of  unusual  abilities,  and 
a  great  financial  success  as  well. 

His  best  work  will  be  along  emo- 
tional lines.  His  adaptability  will 
make  it  possible  for  him  to  play  al- 
most any  line  of  parts,  but  he  will 
shine  most  where  pathos,  sympathy, 
suffering  and  affection  have  to  be 
portrayed.  Being  so  hyper-sensitive 
he  will  do  much  better  work  if  he  is 
given  a  great  deal  of  encouragement; 
an  occasional  pat  of  approbation  will 
spur  him  on  to  renewed  efforts.  Fear 
of  ridicule  will  always  make  him  do 
his  best;  and  should  his  director  be 
so  unfortunate  as  not  to  understand 
his  sensitive  nature  and  be  harsh  or 
stern,  little  Bobby  will  crawl  into 
his  shell,  and  it  will  take  a  great  deal 
of  coaxing  and  petting  to  make  him 
natural  and  at  ease  again.  He  is  so 
high  strung  and  so  finely  attuned  that 
it  won't  take  much  to  upset  him  com- 
pletely, but  with  it  all  he  has  such 
a  lovable  disposition  with  so  much 
kindness  and  affability  that  he  is 
going  to  be  very  easily  handled,  and 


21 


22 

no  director  need  fear  outbursts  of 
-  the  Artistic  Temperament. 

The  Sun  being  in  conjunction  with 
the  benific  planet  Jupiter)  and  trine 
to  the  mystical  planet  Neptune,  fur- 
ther, enhances  the  baby's  chances  of 
success.    Not  only  will  he  be  amen- 
able to  the  suggestions  of  his  direc- 
tor, but  he  is  gifted  with  an  unusual 
amount  of  creative  ability  as  well. 
If  his  director  is  wise  he  will  only 
suggest   to   little   Bobby   what  he 
wants  done,  and  then  leave  it  to  the 
child's  own  originality  to  work  in 
all  the  little  details,  for  there  is 
artistic  genius  of  a  rare  sort  shown 
in  this  baby's  horoscope. 

The  Sun  in  this  chart  represent- 
ing the  brother,  and  in  trine  to  Nep- 
tune from  the  house  of  the  brothers 
and  sisters,  shows  that  he  will  be 
helped  by  his  brother  in  the  start, 
but  the  Sun  is  also  in  unfavorable 
aspect  to  Mars  and  Uranus  in  the 
house  of  his  business,  showing  that 
there  is  a  likelihood  of  a  split,  when 
each  will  go  his  own  way. 

S)  many  of  the  planeLs  being  in 
watery  signs,  giving  so  much  emo- 
tionalism this  child  should  never  be 
allowed  to  indulge  in  stimulants  of 
any  sort,  for  once  started  there  is 
no  telling  how  far  he  would  go. 
There  can  be  no  half  measures  with 
one  of  this  temperament.  If  he 
only  uses  wisely  his  God-given  tal- 
ents there  is  no  need  to  bring  into 
play  upsetting  and  changing  condi- 
tions which  are  quite  strongly  indi- 
cated. But  unless  he  acts  wisely, 
there  is  danger  of  slander  and  loss 
of  reputation  at  some  time  in  his 
life. 

With  the  Sun  and  Jupiter  in  un- 
favorable aspect  to  both  Uranus  and 
Mars,  this  child  should  never  be  al- 
lowed to  do  "stunts,"  for  he  is  in  I 
more  danger  than  the  ordinary  I 
human  being  of  falls,  broken  bones, 
cuts  and  bruises.  And  this  is  doubly 
true  if  he  is  allowed  to  ride  horse- 
back or  go  up  in  an  aeroplane. 

By  the  time  this  child  is  eight 
years  of  age,  he  should  have  made 
a  reputation  equal  to  that  of  his 
world  renowned  brother's.  Not  hav- 
ing seen  Jackie's  horoscope  I  can- 
not say  this  with  assurance,  but  it  is 
inconceivable  that  Jackie's  chart 
promised  more  success  both  finan- 
cially and  artistically  than  this  baby's 
does.  I 


SCREEN  LAND 


CMiss  Jane  Qarleton 

whose  growing  reputation  among  astrologers  -won 
through  her  studious  attitude  to  the  remarkable,  age-old 
science,  has  read  the  future  of  little  Robert  Coogan 
for  SCREENLAND.    Miss  Carleton  writes  as  folloivs; 

The  first  question  I  am  always  asked  is,  "How  did 
you  become  interested  in  astrology?"  I  was  forced  to 
believe  through  having  the  biggest  and  most  important 
events  in  my  life  foretold. 

When  seventeen  out  of  sheer  curiosity  I  went  to  an 
astrologer. 

Here  are  the  three  most  important  events  told  at  my 
first  astrological  reading:  First:  That  I  had  a  strong 
inclination  to  go  on  the  stage,  and  she  felt  sure  I  would. 
Second :  If  I  married  before  my  twenty-sixth  year  my 
husband  would  die  of  a  neurotic  disease.  Third:  That 
my  father  would  go  stone  blind  before  he  died  and  she 
told  me  about  when  I  could  expect  his  death. 

-I  did  go  on  the  stage  two  years  later;  leaving  it  to 
get  married  before  I  was  twenty-six.  Being  very  much 
in  love  I  forgot  all  about  my  astrologer,  till  my  hus- 
band died  of  a  neurotic  disease.  And  while  he  was  on 
an  errand  one  morning,  my  father  had  a  stroke  and' 
was  brought  home  stone  blind;  followed  two  months 
later  by  another  stroke  of  which  he  died. 

From  that  day  until  I  had  learned  enough  about 
astrology  to  be  my  own  counsellor,  I  went  to  my  as- 
trologist  with  the  same  regularity  I  went  to  my  dentist. 

I  am  absolutely  sure  that  by  knowing  through  as- 
trology when  and  what  "to  do"  I  have  gotten  much 
more  happiness  out  of  life,  and  by  knowing  what  "not" 
to  do,  I  have  been  saved  many  a  heartache.  But  re- 
member the  stars  only  point  out  the  way,  they  do  not 
compel  anyone  to  take  it. 

"From  every  power  that  holds  the 
world  in  chains, 

Man  frees  himself  when  self-con- 
trol he  gains." 


UCCESS 


AYS 


IVIDENDS 


Movie  Stars  Enjoy  the  Grafts  of  Greatness 


¥  w  a  s 

s  t  anding 
near  the 
desk  o  f  the 
St.  Regis 
Hotel  wait- 
ing t  o  see 
Hobart  Hen- 
ley. The  St. 
Regis  Hotel, 
as  you  may 
'recall,  was 
built  to 
house  and 

serve  wealth  and  great- 
ness. I  tried  to  look 
like  that.  A  lady  of  ob- 
vious wealth  and  position 
standing  near,  was  ask- 
ing the  clerk  to  send 
outside  and  make  a 
purchase  for  her. 

'•Madam,"  the  clerk  replied 
politely,  "I  regret  to  have  to 
tell  you  that  we  are  not  allowed  to 
undertake  services  of  that  kind 
sorry." 

The  point  of  my  story  is  this:  I  re- 
turned to  the  desk  a  little  later.  Mr. 
Henley  had  come  in  in  the  meantime 
and  was  calling  from  his  room.  I 
know  that  he  made  a  request  for  serv- 
ice similar  to  that  previously  refused. 

"Who,  sir?     Mr.  Hobart  Henley?" 
The  clerk  hesitated. 

The  chief  clerk  turned  significantly.  "It's  all  right,"  he 
said.  "He's  that  famous  picture  director.  Made  'So  This 
Is  Marriage.'    You  ought  to  see  it!" 

It  was  neither  Henley's  money  nor  his  family  that  did 
the  trick;  it  was  that  universal  desire  to  give  homage  to 
the  man  or  woman  who  has  done  something! 

Let  Richard  Barthelmess  tell  you  about  Automobile  Row 
learning  that  he  wanted  to  buy  a  new  car.  "I  hadn't  any 
idea  of  just  the  car  I  wanted  to  buy.  I  only  know  there 
were  one  or  two  makes  that  I  would  not  have,  that  was 
all.  I  had  met  several  salesmen  at  the  Automobile  Show 
and  spoken  to  them  about  their  cars.  After  that  they 
almost  mobbed  me  the  way  we  do  it  in  pictures — all  so 
nice  about  it,  though."  Dick  tells  things  just  as  you  see 
him  in  pictures — so  modest,  retiring  and  afraid  of  hurting 


J 


Alma  Rubens  and  her  prize  zvin- 
ning  fox  terrier.  Miss  Rubens 
played  the  colorful  role  of 
"Maxine"  in  the  Wm.  Fox  pro- 
duction, "The  Dancers." 

By  Henry  KlbertVhillips 


A   the  other 
I   fellow's  feel- 
ings. 

Well,  those 
sales  men 
vied  with 
each  other 
like  Baxter 
Street 
clothing 
"pullers- 
in."  Why, 
do  you  sup- 
pose? Just 
because  he  was  a  custo- 
mer? Not  at  all.  Rich- 
ard Barthelmess  to  them 
represented  achievement! 
They  weren't  counting  on 
commissions.  Any  one 
of  them  was  ready  to 
t  his  commission  or  cut  it 
altogether.  One  proposition 
offered  to  cut  the  price  prac- 
tically in  half.  And  then  Dick  made 
an  unexpected  trip  west  right  in  the 
midst  of  it  all !  It  only  goes  to  show — 
and  speaking  of  hats,  there's  scarcely 
a  milliner  in  the  whole  world  who 
would  not  feel  flattered  beyond  words 
if  Mary  Pickford  would  wear  one  of 
her  most  expensive  bonnets,  expense 
free!  Of  course,  every  one  of  them 
would  like  a  picture  of  "Our  Mary" 
wearing  their  bonnet  to  put  in  their 
shop  window;  every  other  woman  in  the  country  would 
break  her  neck  to  buy  one  like  it.  But  the  big  kick 
would  be  their  pride  in  sharing  part  of  Mary  the  Great's 
greatness! 

Take  little  Jackie  Coogan.  Do  you  suppose  the  thou- 
sands who  gather  just  to  get  a  glimpse  of  him  wherever 
he  happens  to  be,  are  thinking  of  the  half  a  million  a 
year  he  is  reputed  to  be  making?  No.  Here  is  the  kid 
who  put  a  tear  in  a  million  dry  eyes,  who  made  tired 
hearts  throb  anew,  who  took  them  back  for  one  happy 
hour  to  childhood.  All  they  are  thinking  about  now  is 
gratitude;  it's  their  tribute  to  greatness.  What  would 
each  one  o.f  them  give  this  kid,  if  it  was  permissible?  Well, 
just  ask  Mrs.  Googan  what  they  try  to  give  Jackie!  There 
is  no  one  class  or  kind  of  gift        {Continued  on  Page  84) 


23 


YOU  DON'T  HAVE  TC 


01  Natalie  Kingston, 
leading  lady  in  "Feet 
of  Mud,"  and  "Ben 
Gal,  The  Cat." 

There  onec  was  a 
lady  named  Natalie 
Who  fell  deep  in 
love  with  a  catalie, 
Her  passion  brought 
blisters 

"Oh  she's  the  cat's 
whiskers — " 
The  tiger  said,  "I'm 
getting  ratalic." 


NIMALS 


ar 


C[Mae  Busch  and 
Barrec  Busch. 


NCE  a  movie  producer,  with  something  abo- 
his  ears  besides  his  hat,  looked   out  of  h 
limousine  as  he  rolled  comfortably  toward  Wes 
Chester,  and  saw  thousands  of  people  enterh' 
the  New  York  Zoological  Gardens  in  the  Bronx. 

"Cease  firing,  James,"  he  ordered.    "What's  the  a 
traction?" 

"They  are  going  to  the  Zoo,  M'Lord,  to  see  th 
animals." 

The  great  producer,  realizing  that  these  pec 
pie  should  be  entering  a  movie  palace,  thei 
and  then  hit  upon  a  wonderful  idea.  Sin: 
pie,  too.    "If  they  want  animals  we' 
put  'em  on  the  screen,"  he  said. 
Since  that  time  the  animal  kingdor. 
has  been  annexed  by  King  Cinl 
ema.     Far  away  Africa  ha  j 
been  invaded  to  get  scree  f 
talent.     Peter  the  Grea'i 
Rin-Tin-Tin   and  othe 


(\Teddy,  most  fa 
mous  of  dogi 
and    his  studi, 


GO  TO  THE  ZOO  ANY  MORE 


OVIES 


5 


The  movie  stars 
ivho  have  keepers.  - 
Motion  picture 
studios  turn  into 
menageries. 


pets  have  covered 
themselves  with  glory 
and  adoring  fan  let- 
ters. It's  getting  so 
that  the  only  way  a 
bathing  beauty  can 
hold  on  to  her  place  in 
the  cinema  is  to  rely 
on  the  appeal  of  her 
calves. 

The    animals  are 
practically   the  only 
screen  stars  who  ad- 
mit  that  they 
dumb  animals. 


C\  Ruth  Roland  and  her 

two    burros.  That's 

Burro  Hall  on  this 
side. 


Ct  Madge  Bellamy  takes  a  little 
snooze  and  the  elephant  takes 
a  big  snooze. 


Q  5  A  f  remains 
gentle,  unaggres- 
sive, soft-spoken, 
zveil  bred  — ■  in 
short,  a  lady. 


Q  She  learned  to  speak  in 
a  low,  unhurried  voice. 
It  is  like  soft  music  in 
this  staccato  age,  that 
honeyed  drawl  o  f  iXcw 
Orleans. 


°l  She  can  look  so  per- 
fectly helpless  in  this 
complicated  civilization 
that  the  big  muscled 
male  just  craves  to  do 
things  for  her. 


ECRET 


What  is  the  elusive  something 
that  has  won  for  her 
our  adoration? 


Charlton  Lawrence  Bdholm 

A  RE  you  just  a  little  shy— though  you 
A\     are  a  clever  enough  girl  to  conceal 

Do  you  feel  somewhat  out  of 
things  because  you  don't  really  enjoy  a  cigar- 
ette—though you  cough  your  way  through  one 
at  a  studio  party? 

Do  you  loathe  cocktails — accepting  them 
with  a  smile  that  looks  almost  natural5 


26 


RIFFITH'S  (^HARM 


CL  Corinne  Griffith  at 
the  Hollywood  Or- 
phan's Home  with 
the  kiddies  to  -whom 
she  gave  ■  the  Doll 
House.  ' 


Would  you  prefer  to  powder  your  nose  in  private — 
even  while  you  flash  a  wicked  lipstick  because  it's  ex- 
pected ? 

Are  you  a  drafted   flapper — not   one   who   flaps  from 
choice  but  because  everybody's  doing  it? 
Would  you  rather  be  just  a  girl? 

No  boy's  figure,  boy's  haircut,  boy's  clothes  and  cuss 
words- -but  just  a  girl-girl,  with  long  fluffy  hair,  and  hips 
■  'n  everything? 

Well,  cheer  up,  girlie!  You  don't  have  to  be  a  make- 
believe  flapper  if  you  don't  want  to. 

You  can  even  be  a  lady  and  get  away  with  it. 

Look  at  Corinne  Griffith. 

There  is  one  queen  of  the  silver  sheet  who  has  the  wild 
admiration  of  every  male  who  sees  her — off  or  on  the 
screen. 

Materialistic  movie  magnates  with  big  black  cigars  and 
hard-boiled  leading  men  with  trunks  full  of  mash  notes  are 
stirred  by  her  beauty  to  dreams  of  chivalrous  deeds. 

They  would  like  to  defend  her  from  dragons — or  traffic 
cops.  '-  - 

I  Extra  men,  juveniles',  mechanics,,  black-browned  villains 
and  camera  men  all  are  impressed  by  Corinne's  peculiar 
charm.  They  rave' about  :her.  When  she  appears  on  the 
lot  one  expects  to  hear  a  running  fire  of  strictly  A-l,' 
gilt-edged  poetical  quotations,  like  the  rattling  , of  machine- 
guns.'  '  7.  ( •  '  ;'-■:  -  A  -  J.  ■  *  Jpsi 
The  carpent-er--m$irrriuis :   *  •       ( Con&ftMd Sofa-  Page '•  #9.) £ 


That  is  the  secret  of  Corinne 
Griffith's  charm ;  men  dream 
of  Ideal  Womanhood  when 
thev  look  into  her  eyes. 


ETTY 
emembers 


Betty  Bronson,  with 
elfin  charm,  as  "Peter 
Pan,"  tries  in  vain  to 
fasten  on  the  re- 
captured shadow. 


(\Has  Success  Turned  Little  Betty's  Head? 


By 

Grace  Yrye 


Q  Though  Betty  Bronson  is 
known  the  world  over,  and 
justly  so,  for  her  exquisite 
performance  in  Sir  James 
M.  Barries  diminutive 
hero,  she  has  not  forgotten 
the  friends  of  the  days  be- 
fore her  success.  Left  to 
right— Yuba  Orloff,  Betty 
Bronson,  Miss  Marjorie 
Williams,  director  of 
Studio  Club,  and  Carmen 
Rowe. 


A  MBITION  means  lonesomeness. 
Zj\       Perseverance  means  discouragement. 
V^jV     Betty  Bronson  knows  this,  with  all  the  ardent, 

soul-stirring  emotions  of  seventeen. 
Although  her  family  are  the  delightful  kind  that  can 
enjoy  both  church  and  theatre,  they  would  have  preferred 
some  other  vocation  for  Betty,  and  did  not  hesitate  to  say 
so.  Motion  picture  people  not  being  so  very  much  in 
East  Orange,  N.  J. 

Her  father  was  a  traveling  salesman  for  the  Estey  Piano 

28 


Company.  Extremely  proud  of  his  fine  family,  he  feared 
to  have  his  beautiful  little  daughter  start  on  such  a  venture- 
some career.  But  he  recognized  her  possibilities  and  re- 
luctantly became  very  proud  when  she  acquired  a  small  part 
in  "Java  Head." 

But  an  untoward  fate  was  never  to  allow  Betty's  be- 
loved father  to  know  of  her  success.  For  death  came  to 
him  very  suddenly.  And  on  his  very  last  trip  it  is  told  that 
everywhere  was  he  hoping  to  see  the  picture,  "Java  Head." 
But  it  had  always  just  left  every  town  he  made,  or  else  was 


01 0/i  i"  of  the  most  typical  Barrie 
touches  in  the  film  is  zvhere  Peter 
dances  with  delight  at  finding  his 
lost  shadow. 


Out  of  the  Crowd 


Meet 
Mr.  Chance 


W  h  c  n  filming 
"Galloping 
Hoofs"  Allene 
Ray  advertised 
for  an  extra. 
Hundreds  of 
girls  applied. 


.  ■  -">■■  


Beautiful  Norma  Shearer 
who  zvas  led  by  luck  to  tlie 
door  of  opportunity. 


By 

Rodney  Hickok 


OME  wise  bird  once  remarked,  llBy  the  sweat  of 
your  brow  you  will  get  .there."  And  those  who 
believed  him  worked  and  sweated  and  in  time 
some  of  them  did  get  there,  but  a  vast  majority 
only  had  the  pleasure  of  the  work  and  sweat.  Just  look 
at  yourself,  frinstance! 

Then  came  the  Movies,  and  while  Mr.  Sweat  continued 
to  do  business  at  the  old  stand,  it  was  a  gentleman  named 
Chance  who  became  the  real  Boss  and  the  one  who  leads 
the  favored  few  to  the  Land  of  Fame. 

And  no  one  really  seems  to  be  able  to  recognize  this 
fellow  Chance,  although  everyone  at  some  time  or  other 
wishes  for  him.  "If  they  would  only  give  me  a  chance," 
or  "I  wish  I  had  a  chance."  He  always  seems  to  be  dis- 
guised. He  may  be  at  your  elbow  or  just  around  the 
corner.    Especially  in  the  Movies. 

Of  course,  after  one  meets  Mr.  Chance  you  begin  to 
recognize  him,  and  then  Mr.  Sweat  steps  in  and  takes  a 
hand,  and  by  following  his  instructions  one  makes  good 
and  "gets  there."  The  greatest  present  day  example  of 
that  in  the  movies  is  Betty  Bronson.  No  one  had  heard 
of  her"  a  year  ago,  although  her 
best  companion  was  Miss  Hope, 
who  constantly  whispered  in  her 
ear,  "Some  day  you'll  be  famous, 
Betty,  if  we  can  only  manage  to 
meet    Mr.    Chance."     She  had 

30 


To  every  one,  some 
In   the  movies,,  as  in- 
great  moment  arrives 


thought  of  Mr.  Work  and  Mr.  Sweat  as  a  good  firm  to  be 
with  and  through  whom  she  might  rise  to  the  heights,  but 
it  would  take  time.  And  then  along  comes  Mr.  Chance 
in  the  guise  of  Sir  J.  M.  Barrie  and  selects  her  to  play 
"Peter  Pan." 

Mr.  Chance  often  dons  the  cloak  of  unimportance  when 
he  meets  the  one  upon  whom  he  intends  to  cast  his  favor. 

It's  not  so  long  ago  that  a  slight  little  girl  with  a  very 
beautiful  face  and  large  dark  eyes  appealed  for  work  in 
a  crowd  during  the  filming  of  "The  Menace."  It  meant 
five  dollars  for  the  day's  work,  and  she  wanted  it.  Also 
Miss  Hope,  her  companion,  was  encouraging  her  to  do 
"extra"  work.  No  one  seemed  to  pay  much  attention  to 
her  and  Miss  Hope  was  on  the  verge  of  leaving  her  when 
Mr.  Chance  appeared  on  the  lot,  this  time  in  the  guise 
of  George  Utell,  the  assistant  director.  Something  in  the 
slight  little  figure  attracted  him.  He  chose  her  and  sev- 
eral others,  and  the  filming  of  the  crowd  scene  was  done. 
A  tiny  bit  of  special  business  was  assigned  her  by  Utell. 
When  the  rushes  were  shown  the  next  day  in  the  projection 
room,  her  part  stood  out  vividly.     She  had  made  good. 

And  her  bit  of  acting  attracted 
the  attention  of  the  director  and 
others  when  they  saw  the  film  in 
the  first  projecting.  From  that 
day  her  rise  has  been  steady 
{Continued  on  page  78) 


time,  comes  a  chance, 
every  other  job,  the 
unexpectedly. 


Screenland's  expert  returns  from  South  America 

hut  his  imagination  keeps  on  wandering 


Q  Marine  Knight  in  "So  This 
is  Marriage."  Matrimony  is 
getting  more  and  more  attrac- 
tive. 


T 


if  M  ^HE  screen  dances  forward  on  a 
fresh  set' of  legs.  They  sprouted 
during  my  absence  in  South 
America,  and  but  for  that  ab- 
sence I  might  never  have  observed  new 
calves  in  old  pastures. 

South  America  calls  bulk  beauty;  pul- 
chritude and  pounds  are  indivisible.  So, 
when  the  first-row-chorus  moves  im- 
mensely about  theatres  of  Buenos  Aires, 
Montevideo  and  Rio  de  Janeiro — in 
tights — one  must  have  a  taste  for  moun- 
tain grandeurs  to  appreciate  their  cute- 
ness. 

Or  be  bucolic,  understanding  the  come- 
liness of  cows. 

Or  alcoholic,  applauding  everything. 

Me,  I  grew  homesick  for  the  sym- 
metry we  admire  outspokenly  for  art's 
sake.  Yet  I  feared  to  return  lest  in 
three  months  the  infant  industry  had  pro- 
gressed so  furiously  that  did  I  ask, 
"What's  Jackie  Coogan  doing  now?" 
some  one  would  answer,  "Playing  old- 
man  parts  with  Theodore  Roberts." 

Instead  I  find  little  changed  except  the 
beauty  spots. 

Let's  be  idyllic.     At  the  magic  pool 
of    Hollywood    a   host  of 
new   nymphs    gathered  to 

bathe.  A  satyr  stole  their  Q.Madeline  Hurlock,  a 
clothes;  whereupon  they  ]c925  Wampas  Bab\\ 
wrapped  themselves  in  pub-  itfC%^-°^ 
licity    and    became    movie      notice  it? 


32 


Like  a  MILLION 
DOLLARS" 


By  Qayne  Dexter 


stars.  Something  like  that  may  have  happened,  although 
the  facts  are  more  apt  to  prove  historical  repetitions:  that 
once  again  Hollywood  bowed  down  and  worshiped  a  back 
more  graceful,  a  curve  more  enticing  than  its  own.  Lazily 
generous  is  Hollywood,  periodically  tiring  of  exertion  to 
keep  a  shape  just  so-so.  and  resigning  in  favor  of  some 
Venus  who  thinks  the  Daily  Dozen  are  cross-word  puzzles. 

So  far  I've  been  too  occupied  to  notice  the  faces  of 
the  girls  on  these  pages.  Perhaps  they're  beautiful — but 
who  cares?  Too  much  importance  is  attached  to  faces, 
anyhow. 

A  face  measures  less  than  one-eighth  of  the  feminine 
form.  Remember  that,  little  girl,  when  you  draw  the  cur- 
tain, lock  the  door  and  drape  yourself  in  the  chiffon  of 
stardom  before  the  cheval-glass.  The  thing  I  complain 
about  most  bitterly  among  film  extravagances  is  the  waste 
of  beauty  during  the  years  that  Sennett's  bathing-girls  de- 
veloped long  skirts  and  dramatic  urges !  And  those  who 
could  manage"  no  more  than  the  skirts  developed  thick 
ankles  as  cafeteria  waitresses  while  ten  thousand  Eves  grew 
ancient  yearning  for  a  chance.  Blame  the  public  that 
said,  "No  costume  plays;"'  blame  the  censors  who  decreed, 
"No  no-costume  plays."  In  the  subsequent  confusion  the 
only  two  performers  seen  au  naturel  were  Strongheart  and 
Rin-Tin-Tin. 

A  NEW  MOTTO  FOR  BEAUTY 

Not  that  the  ban  is  less  severe  today.  Far  from  it. 
Nevertheless  our  portion  of  pulchritude  again  extends 
beyond  eyes,  nose  and  a  winning  smile.  "The  Perfect 
Woman"  is  a  title  forgotten  since  Annette  Kellerman  wore 
it  years  ago;  now  Hollywood,  in  just  those  words,  adores 
Alarine  Knight,  artist's  model  and  exquisite  Atlas,  whose 
shoulders  bear  the  weight  of  the  movieworld's  popularity. 
Hobart  Henley's  production,  "So  This  Is  Marriage."  will 
reveal  what  histrionic  ability  Marine  has.  None,  I  hope 
quite  dispassionately;  for  the  screen  needs  more  adorn- 
ment, less  dramatic  effort.  The  Follies  permit  me  to 
watch  some  stunner  who  would  be  fired  if  she  tried  to  sing 
a  note,  dance  a  step.  Studying  her,  I  can  forget  wearisome 
stars.  Movies  present  few  such  opportunities,  far  too  few. 
So,  relying  upon  an  old  poker-table  acquaintanceship.  I 
hereby  exhort  Mr.  Henley  not  to  let  Marine  emote  even 
though  she  be  the  Divine  Sarah's  reincarnation. 
Give  us  beauty  without  theatrical  grimaces! 
Give  us,  not  mobs  of  passable  extras,  but  two  or  three 
pips !  wows ! !  wizzes ! ! ! 

And  put  them  where  we  can  see  them! 
Mack  Sennett's  bevy,  provides  .two-score  additional  rea- 
sons why  wanderers  return  home.  But  for  how  long  will 
comedies  content  them  against  paths  that  Gloria  Swanson, 
Betty  Compson  and  Mary  Thurman  took?  Subtle  propa- 
ganda is  necessary  to  combat  dramatic  haliatosis;  slogans 
and  catchlines  to  .encompass  art  within  a  decorative  yard 
of  satin.  Into  the  weekly  pay  envelope  of  Elsie  Tarron, 
Thelma  Hill,  Evelyn  Francisco  and  all  those  others  whose 


C[Bctty  Bhthe.  You  will  see  her  in  "Chu 
Chin  Chow."  In  spite  of  the  modem  arts 
she  still  uses  the  old  surc'f.rc  appeal.  : 


perfect  understandings  exalt  the  husband  uxoriously  mis- 
understood. Sennett  should  insert  a  card—  - 

"The  call  of  Higher  Art  is  the  moan  of  extra  pounds  and 
excess  inches!" 

— and  follow  up  with  another  kind  thought  each  week  until 
Water  Wows  see  stardom  only  as  the  camouflage  of  the 
withering  rose. 

A  beautiful  dream,  my  masters! 


33 


Marian  Nixon  was  a  little  extra  in  "The  Temple  of  Venus"  {there  she  is  on 
vie  left  end).  But  -when  the  picture  was  shown  she  stood  out  bigger  than  the 
temple.    Perhaps  it  was  her  dancing,  anyzcay— 


T 


Marian 
I  chance 
bit 
tuck} 


got 
to  do 

"Ken 
Days" 


"^WO  years  ago  Marian  Nixon  left  her  big  brown-stone 'home  on  the 
corner  of  Hennepin  and  Niceolet  Avenues,  Minneapolis,  and  went  to 
Hollywood  to  make  a  name  for  herself  in  pictures. 

Marian  was  only  eighteen  then  and  now  she's  twenty,  but  already 
she  has  made  the  grade  from  EXTRA  to  LEADS. 

In  the  first  place  Marian  could  dance,  and  so  well  that  she  was  given  an 
extra  part  in  ''The  Temple  of  Venus,"  one  of  those  huge  screen  reviews.  But 
Marian  wasn't  swallowed  up;  in  fact,  she  stood  out  quite  distinctly.  And 
along  came  a  director  with  an  offer  of  a  ''bit." 

^  Gaily  Marian  danced  her  way  out  of  the  shadows  of  obscurity  right  into  the 
limelight  of  leading  feminine  roles. 
Nonchalantly  s'ne  captured  one  of  the  thirteen  Baby  Wampas  prizes  for  the 
her  season  of  1924. 

Cheerfully  she  accepted 
any  role  given  her  and 
played  it  with  all  her  skill 
and  understanding. 


With  John 
Gilbert  Mar- 
i  a  11  helped 
put  o  z:  e  r 
"J  u  s  t  O  ff 
Broadway." 


M iss  N  i  x  o  n 
next  played  lead- 
opposite  Buck 
Jones  in  "Big 
Dan" 


34 


GOES! 


Marian  Nixon  makes  the  quickest  trip  on 
record  from  the  common  lot  to  the 
crowned  heights  of  the  screen 


Marian  Nixon  .iviih  Buck  Jones  in  "The 
Circus  Cowboy."    Little  Marian  is  the  right 
size   to    be   treated  just   like  this. 


Marian  Nixon,  the 
Fox-  star  zvho  brings 
to  the  screen  a  delight- 
ful personality. 


Another  Girl  to  Love! 


Marian  Nixon  climbs  on  her  pedestal  in  the-   Hall  of  Yam 


NS 


By  Q  rant  I  and  K/ce 


THERE  is  no  top- 
ic in  American 
life  more  absorb- 
ing than  the  will 
to  win  and  the  thrill  of 
competition  on  land  and 
water,  with  thousands  of 
contestants  in  action  and 
millions  looking  on. 

Each  one  has  his  or  her 
dream  of  championship 
glory,  the  applause  of 
great  crowds,  the  sweep  o,f 
big  headlines  and  the 
physical  fitness  which 
helps  to  make  up  the 
drama. 

It  is  this  thrill  of  ac- 
tion and  reward  of  speed, 
strength  and  courage 
which   J.    L.  Hawkinson 


GlNoz'icc's  Race,  Rose  Tree  Hunt  Club,  Philadelphia,  Pa. 


paid  admissions  to  the  two  major  leagues, 
and  at  least  six  million  more  to  the  vari- 
ous minor  leagues  from  coast  to  coast. 
And  this  shows  only  a  small  part  of  the 
general  interest..  When  Notre  Dame 
played  Northwestern  in  Chicago  only  30.- 
000  were  present  but  there  were  one  hun- 
dred and  sixty-five  thousand  applications, 
which  lack  of  seating  space  cut  down.  Foot- 
bait  crowds  from  sixty  thousand  to  seventy 
thousand  at  one  game  are  common  sights. 

All  fchis  while  there  were  two  million 
golfers  busily  engaged  in  flitting  from  bun- 
ker to  bunker  as  nearly  a  million  caddies 
carried  their  clubs  and  looked  for  the  elu- 
sive ball. 


Q.Miss  Sally  Lanier  of  Greemvich  on  her  famous  jumper,  Silvercrest. 

« 

and  I  have  attempted  to  present  through  "The  Grantland  Rice  Sportlights,"  : 
distributed  by  Pathe.    We  have  kept  them  to  one  reel  in  order  to  preserve 
unflagging  action  throughout,  such  as  the  best  of  games  might  know. 

The  terrific  growth  and  interest  in  sport  has  been  so  amazing  that  few- 
have  comprehended  its  full  expansion. 

For  example,  in  two  months  last  fall  there  were  over  twelve  million  paid 
admissions  to  football  games  in  the  United  States.    There  were  nine  million 


(\Miss  Aileen  Riggin,  finishing 
a  dive  under  water.  Ber- 
muda. 


36 


QY ou  have  all  seen  Grant  land.  ILice's  wonderful  slow  motion  pictures  of 
spirited  contests  and  dramatic  finishes  where  the  players  seem  to  be  swimming 
in  air  as  thick  as  cold  molasses.     Were  the  great  sport  authority  tells  his 
purpose  and  his  plans.     All  photographs  are  from  the  flms  and  copyrighted. 


(\Plansky  of  Georgetown  broad 
jumping  at  the  Relay  Carni- 
%>al,  Franklin  Field,  Pa. 


In  football,  baseball,  racing,  box-" 
ing,  golf,  tennis,  track  and  field, 
swimming,  polo,  etc.,  sport  has  run 
so  far  into  the  millions  that  it  is  al- 
most beyond  belief.  Millions  in  at- 
tendance and  many  more  millions  in 
dollars.  Admission  and  attendance 
in  general  upon  sporting  events  last 
year  alone  must  have  run  above  sev- 
enty million,  there  being,  of  course, 
many  duplications. 

With  this  growing  interest,  increasing  in  size  every  year, 
'  The  Sportlight"  series  has  made  a  valiant  effort  to  show 
not  only  the  leading  champions  in  action  but  to  present 
also  the  thrills  and  color  and  outlines  of  all  the  leading 
games — to  show  why  they  are  champions  and  to  prove  the 


01  The  start  of  a  relay  race  at  Franklin  Field 
No  thought  of  prise  or  moncv  to  gain,  bu 
win  drives  them  forzvard. 


C[A  sprint  along  the  cinders,  Newark,  N.  J. 

case  under  fire — to  demonstrate  visually  what  it  means  to 
be  a  champion  in  the  world  of  sport. 

The  list  of  champions  we  have  put  into  action  runs  well 
above  eighty,  with  every  leading  star  shown.  Here  you 
will  find  the  ways  and  methods  of  Babe  Ruth,  Jack  Demp- 

sey,  Bill  Tilden,  Paavo 
Nurmi,  Devereux  Milburn. 
Tommy  Hitchcock,  Helen 
Wills,  Glenna  Collett,  Ailene 
Riggin,  Gertrude  Ederle. 
Johnny  Weismuller,  Gene 
Tunney,  Ty  Cobb,  Walter 
Johnson,  Charley  Paddock, 
Jackson  Scholz,  Walter  Ha- 
gen,  Bobby  Jones,  Gene 
Sarazen,  Cyril  Tolley — 
champions  not  only  from 
the  United  States  but  also 
from  England,  Scotland, 
France,  Spain,  Australia. 
Canada,  Finland,  etc..  who 
have  contributed  some  gal- 
lant deed  to  the  cause  at 
large. 

Slow  motion  pictures 
show  how  they  do.  the 
basis  of  their  form,  and 
then  how  they  look  in  the 
whirl  of  competition  that 
follows. 

"The  Sportlight"  series 
shows  the  thrill  and  interest 
in  this  golden  age  of  sport. 


Philadelphia,  Pa. 
t  only  the  will  to 


37 


ew  G/creenpiays 

Reviewed  By  'Delight  Evans 


SCREEN! AND'S  BEST  BET 

Of  the  Month : 

Carol  Dempster  fools  her  critics  and  plasters  down  her  lovely  curls — And 
that's  not  all!  There  are  no  kinks  in  her  performance  in  "Isn't  Life  Wonder- 
ful?" 


"It's  the  spirit  of  youth  and  joy  wrapped  up  in  ccllulok 


Peter  Pan 


it 


11 


\  /■■v^jlERE  wasn't  any  "private  showing" 
of  "Peter  Pan."  The  first  time  any 
one  had  a  chance  to  see  it  was  the 
other  Sunday  when  it  made  its  bow 
at  two  Broadway  theatres.  And  all  New 
York  was  there.  Ma  and  Pa  and  Bill  and 
Mary,  not  to  mention  the  older  folks.  A 
critic  from  every  paper;  screen  stars;  cynics; 
school-teachers  (maybe  they're  the  same 
thing);  students,  and  just  people.  And  when 
Betty  Bronson,  as  Peter  Pan,  comes  right  out 
at  you  and  asks  so  wistfully,  "Do  you  be- 
lieve in  fairies — oh,  say  that  you  believe  in 
fairies!"  the  whole  audience  went  wild.  There's 
never  been  anything  quite  like  it  in  any 
motion  picture  theatre.  You  might  have 
been  at  a  children's  party — for  kids  of  all 
ages.  Every  scene  brought  a  chuckle,  or  a 
giggle,  or  a  subdued  murmur  of  "Ah!"  That 
Manhattan  audience  forgot  it  was  grown  up; 
and  it  is  said  that  the  ushers  had  to  take 
care  that  some  of  it  didn't  try  to  fly  out  of  the  theatre. 

I  kept  pinching  myself — at  least,  I  hope  so — at  every 
new  wonder  in  Herbert  Brenon's  and  Betty  Bronson's  "Peter 
Pan."  It  was  too  good  to  be  true,  it  really  was.  Because 
I  saw  Maude  Adams  a  long  time  ago;  and  I  never  forgot 
that.  I  remember  her  Peter  asked  us  to  wave  our  hand- 
kerchiefs if  we  believed  in  fairies,  and  the  Never-Never- 
Land.  and  joy — and  I  couldn't  wave,  I  just  choked.  But 
I'm  older  now,  and  when  Betty  fired  that  question  at  us, 
I  clapped  till  my  hands  tingled.  And  because  I  am  older 
I  mingled  my  appreciation  of  fairies  with  a  sigh  of  relief 
that  a  girl  of  the  films  had  miraculously  brought  Peter; Pan 
back.  You  don't  think  of  her  that  way,  of  course.  She's 
just  a  bad  little,  good  little  boy,  not  an  actress  at  all. 


"An  unbelievable  child  is  this  Betty  Bronson." 

Wendy  and  tiger  Lily  aren't  the  only  girls  who  will  fall 
in  love  with  the  picture  Peter. 

Barrie  didn't  know  it.  but  he  wrote  Peter  Pan  for  mo- 
tion pictures.  No  matter  who  played  it  on  the  stage  the 
wires  just  would  show.  No  matter  how  willing  you  are  to 
be  led  adong,  after  all  if  when  Peter  tries  to  fly  off  the 
pirates'  ship,  and  can't  because  something's  wrong  with 
the  mechanics  back-stage.  Peter  Pan  doesn't  hold  all  its 
lure.  But  on  the  screen  there  aren't  any  wires.  I  am 
sure  that  Betty  and  Mary  Brian  and  the  Darling  children 
really  learned  to  fly  but  that  they  can't  actually  tell  us 
the  secret  because  if  they  do  they  won't  be  able  to  fly 
any  more. 

An  unbelievable  child  is  this  Betty  Bronson.    She  was 


38 


SCREENLAND 


39 


born  to  play  this  part  and  it's  not  for  us  to  wonder  how 
she  could  do  it.  Ernest  Torrence  is  the  Captain  Hook  and 
you  can  just  imagine  how  good  he  is.  Besides,  he  sails  a 
real  ship  on  a  real  sea.  And  the  mermaids  are  not  just 
mentioned — they're  really  'there,  all  shimmering  and  beau- 
tiful. Tinker  Bell  is  an  exquisite  little  fairy,  not  just  a 
ball  of  light.    Nana,  the  dog  nurse,  would  shove  Rin-Tin-Tin 


and  the  rest  right  off  the  screen  if  he  didn't  happen  to 
have  an  actor  inside  of  him  who  has  a  heart. 

After  all,  Peter  Pan  is  too  elusive  to  be  talked  about 
above  whispers.  See  it,  and  cherish  it  in  your  memory. 
It's  the  spirit  of  youth  and  joy  wrapped  up  in  celluloid, 
and  any  one  who  fails  to  enjoy  it  deserves  the  crocodile's 
revenge — and  a  crocodile  without  the  warning  tick-tock. 


"Here  is  Carol  showing  'cm!    They  said  she  couldn't  act.    Well,  just  go  to*  see." 


Mr.  GRIFFITH'S  GROWING  PAINS 


"Isn't  Life 


I WISH  Grandpa  Griffith  would  take  off 
his  high  silk  hat. 
He's  a  great  guy — nobody  admits  that 
as  freely  as  I  do.  He's  our  Foremost 
Director  and  always  will  be,  by  right  of  age 
and  eminence.  Besides,  he  looks  the  part — 
and  he  doesn't  have  to  wear  a  wrist  watch 
or  a  slave  bracelet  to  do  it.  Perhaps  his 
name  has  contributed  something;  surely  no 
one  named  David  Wark  would  have  a  right 
not  to  live  up  to  it.  And  there's  some  ability 
to  take  into  consideration,  too.  It's  with  his 
ability  that  I'm  most  concerned.  Especially 
as  it  is  exemplified  in  his*  latest  if  not  great- 
est, "Isn't  Life  Wonderful?" 

That  title  was  enough  to  keep  the  sophisti- 
cates away  from  'the  theatre — before  they 
read  what  the  New  York  critics  had  to  say. 
As  a  matter  of  fact,  though  not  intended  as 
such  by  Mr.  Griffith,  I  feel  sure,  this  picture 
is  a  sombre  study  in  realities.  Designed,  very 
probably,  as  a  more  or  less  saccharine  exhibit 
of  'the  triumph  of  youth  and  love  over  sordid 
circumstances,  it  becomes  a  tragic  little  essay 
of  the  pitiful  hopefulness  of  small  souls.  It 
is  very  nearly  great  by  accident. 

It  was  heralded  as  another  one  of  those 
"distinct  departures  in  celluloid  drama."  We 
have  one  every  other  week  if  'the  press  agents 
are  to  be  believed.    But  this  time  there  was  truth  in  it. 
It  is  a  daring  picture— without  one  undraped  woman.  There 
is  no  villain  and  no  suspense.    Believe  it  or  not,  this  is  a 
Griffith  canvas  without  "a  chase  or  a  leer.    The  heroine, 
poor  starved  lit  die  mite,  is  not  "desired,"  as  is  the  usual 
thing  with  D.  W.'s  forlorn  maidens.     No — all  that  the 
members  of  the   cast  desire  is  a  good, 
square  meal. 

Germany  after  the  war — a  suburb  of 
Berlin,  to  be  explicit — is  the  "location." 
And  Griffith  went  to  this  suburb  to  get 
his  set.  His  players-  went,  too,  and  lost 
themselves  completely  among  'the  "atmos- 
phere." 

I  don't  know  if'  Carol  Dempster  enacted 
her  marvelous  scene  in  the  bread  line  on 
an  empty  stomach,  but  if  she  came  directly 
from  an  appetizing  luncheon  to  her  part 
then  she's  an  even  finer  actress  than  I 


Carol  Demp 
ster,  N  e  i 
Hamilton. 


Carol  Dempster 


"The  triumph  of  youth  and  love  over  sordid  circumstance.-. ' 


give  her  credit  for — and  that's  going  some.  For  Carol  is  a 
complete  revelation.  Considering  her  youth  and  compara- 
tively brief  apprenticeship  as  a  Griffith  heroine  she  has 
been  shabbily  picked  on  ever  since  the  director  chose  her 
for  his  leading  woman.  They  said  she  was  awkward  and 
lacking  in  charm;  they  said  she  couldn't  in  a  million  years 
join  that  almost  sacred  circle  which  in- 
cludes Mary  Pickford,  the  Gishes,  and 
Mae  Marsh.  And  here  is  Carol  showing 
'em!  They  said  she  couldn't  act.  Well, 
just  go  to  see  "Isn't  Life  Wonderful?"  If 
you  can  resist  her  as  Inga,  you're  the  orig- 
inal grouch  who  told  the  children  that 
there  isn't  any  Santa  Claus. 

Mr.  Griffith  must  be  a  very  kind-hearted 
man.  He  is  always  getting  all  worked  up 
over  some  one's  sorrows.  He  championed 
the  lost  cause  of  the  old  south;  he  pic- 
tured battered  Belgium;  and  now  he  takes 


40 


SCREENLAND 


to  heart  the  plight  of  home-Joving,  peaceful  Germany  after 
the  recent  war.  He  has  trained  his  cameras  on  their  souls — 
(I  hope  his  advertising  men  read  'that  and  use  it  in  their 
twenty-four  sheets).  But  now — having  seen,  appreciated 
and  wept  with  "Isn't  Life  Wonderful?''  I  wonder  why  Mr. 
Griffith  doesn't  decide  to  pity  the  motion  picture  audiences 
of  America.    We  like  to  laugh! 

His  story  concerns  the  romance  of  Hans,  a  young  German, 
and  Inga,  his  refugee  sweetheart;  their  efforts  to  raise 
enough  potatoes  to  get  married  on;  their  ceaseless  labors 
and  hoarding;  their  horrible  dinners  of  potatoes  and  tur- 
nips— except  on  that  one  grand  occasion  when  Inga  has  a 
lucky  break  and  furnishes  the  family  with  some  real  food — 
all  their  trials  and  tribulations  and  final  heart-breaking  dis- 
appointments which  Inga,  the  philosophizing  Pollyanna  or 
dumb-bell,  call  her  which  you  will — turns  into  a  triumphant 
love-song  by  saying,  "But  Hans,  we  have  each  other.  Isn't 
life  wonderful?" 

Any  charges  of  pro-Germanism  which  may  face  Mr. 
Griffith  for  daring  to  turn  our  attention  to  the  sufferings  of 
our  ancient  enemy  must  be  scattered  when  it  is  considered 
that  he  received  his  story  from  Major  Geoffrey  Moss  of 
the  British  Army.  As  propaganda,  it  is  more  effective  than 
a  thousand  "drives."  As  drama,  it  is  exceptional.  As  en- 
tertainment— well,  we  leave  it  to  you. 

I  can't  help  wishing  that  "the  master"'  would  stop  trying 
to  reform  his  audiences  and  try  instead  to  amuse  and  en- 
tertain them.    It  is  not,  alas,  a  fine  motion  drama  such  as 


"Isn't  Life,  etc."  which  will  move  us  most  to  sympathy 
and  kinship.  It  will  be  something  like  Charlie's  "Shoulder 
Arms!"  which  did  more  to  cheer  nations  in  the  world  war 
than  anything  until  the  armistice.  I  don't  mean  D.  W. 
should  resort  to  gags— Hays  forbid!  His  idea  of  comedy 
is  too  truly  rural. '  But  let  him  set  himself,  if  he  must  be 
the  savior  of  the  celluloid,  to  drive  out  dark  despair  by 
diverting  methods,  even  if  he  has  to  call  back  his  trained 
doves  and  kittens  to  accomplish  it. 

He's  sort  of  a  Peter  Pan.  anyway.  His  art  has  never 
grown  up.  His  direct  ion  has  stayed  very  much  the  same. 
If  he  could  only  forget  his  traditions,  throw  away  his  high 
silk  hat,  and  scrape  up  a  sense  of  humor,  how  great  he 
would  be!  It  is  not  that  "Isn't  Life  Wonderful?"  is  not 
one  picture  in  a  thousand.  The  mere  fact  that  the  heroine 
is  homely  all  the  way  through  and  fails  to  be  dressed 
up  even  as  a  bride  is  enough  to  recommend  any  picture 
as  distinctly  unusual.  -  But  there  is  so  much  unsuspected 
promise  hidden  away  in  it  that  the  director  should  be  led 
by  the  lapels  and  haye.it  pointed  out  to  him. 

And  now  that  the  day's  lesson  has  been  done,  without 
one  single  little  boy  or  little  girl  having  to  be  called  up 
to  the  desk  to  have  his  hand  smartly  slapped  by  the  ruler — 
anyway,  so  far  as  I  can  see — suppose  we  say  don't  miss 
"Isn't  Life  Wonderful?"  Just  one  of  Carol  Dempster's 
hungry  close-ups  will  send  you  home  to  your  groaning 
table  crying  in  loud  tones  for  potatoes  or  turnips  or  any- 
thing.   It's  a  great  picture — especially  if  you  like  potatoes. 


"The  most  beautiful  picture  I  ever  saw  is  'Romola.' 


Reckless  "ROMOLA 


IF  Mr.  Griffith  has  the  propa- 
ganda complex,  then  his  most 
distinguished  pupil,  Miss  Lil- 
lian Gish,  has  a  heavenly  one. 
Ever  since  the  celebrated  lily  of  the 
celluloid  has  been  out  "on  her  own," 
she  has  gone  in  for  religious  reform. 
In  "The  White  Sister"  she  spurned 
the  affections  of  Ronald  Colman— 
what  strength  of  character  that  must 
have  called  for!  I  don't  know  of 
another  leading  lady  who  could  have 
done  it.  Ronny  is  one  of  those  gents 
who  always  gets  the  girl — but  not 
Lillian.  Now,  in  her  second  inde- 
pendent stellar  drama,  Miss  Gish  re- 
sorts to  "Romola"- — a  fine  old  tale 
by  George  Eliot,  destined  to  increase 
the  star's  reputation  as  the  cham- 
pion saint  of  the  screen. 

The  most  beautiful  picture  I  ever 
saw  is  "Romola."  It  is  positively 
breath-taking  in  its  loveliness.  And 


Tito,  played  by  William- 
Powell,  and  Dorothy  Gish 
have  more  -colorful  scenes 
than  Lillian. 


SCREENLAND 


41 


it  is  the  first  film  I 
have  seen  actually  to 
reincarnate  a  period  in 
history — always  excepting  ''Intoler- 
ance."'    0:her    dramas   have  done 
their  best  and  succeeded  in  faithfully 
portraying  past   times  and  temperaments:  but 
"Romola"  is  real.    It  takes  you  right  back  to 
Florence  in  the  days  of  the  de  Medici;  it  shows 
you  Savonarola,  the  fiery  fanatic  who  finds  an 
ardent  if  frail  defender  in  our  heroine;  and  it 
gives  you  the  most  convincing  portraits  of  a 
strenuous  and  sinister  age  that  you  will  ever 
find  anywhere,  even  in  the  very  best  books.     A  year  of 
desperately  hard  work  under  Florentine  skies — skies  some- 
times sunny  but  more  often  sour — produced  "Romola"; 
and  as  a  thing  of  beauty  it  is  well  worth  the  effort.    It  is 
a  triumph  for  the  girl  who  made  it.     Not  her  greatest 
characterization  so  far  as  showy  histrionics  go;  but  as  a 
study  of  subtfety  and  quiet  grace  it  has  not  been  sur- 
passed.   Miss  Gish  is  not  even  the  outstanding  figure  in 
her  own  picture.    Her  "Romola."  by  the  very  nature  of 
the  role,  is  forced  to  give  way  before  the  gorgeous  character 
of  Tito,  superbly  played  by  William  Powell.    Herbert  Grim- 
wood,  who  is   the   physical   twentieth-century  edition  of 
Savonarola,  is  next  in  interest;  and  even  Dorothy  Gish,  as 
a  little  roughneck  of  romance,  is  provided  with  more  color- 
ful scenes  than  her  sister. 

The  opening  chapter  is  a  thrilling  battle  at  sea — with  all 
the  authenticity  that  "The  Sea  Hawk"'  skirmishes  lacked. 
If  the  picture  could  have  kept  up  the  tempo  of  those  first 
few  scenes  it  would  easily  make  the  "masterpiece"  grade. 
But  it  descends  into  long-drawnout  and  often  dull  dra- 
matics. A  little  child  sitting  near  me  wailed.  "I  wanna  go 
home — you  told  me  it'd  be  exciting!"  I  didn't  want  to  go 
home — I  never  walked  out  on  a  picture  in  my  life;  but  I 
did  wish  that  Lillian  Gish  had  selected  a  more  stirring  story 
to  enact  against  the  beautiful  backgrounds. 


Miss  Lillian  Gish 
in  "Romola"  has 
a  heavenly  com- 
plex-. 


The    story   i;  all 
about  "The  Show-Off" 
of  his  times — a  swag- 
gering, suave  fellow  who  kids  every- 
body in  Florence  until  he  begins  kid- 
ding himself — and  then  it's  the  Arno 
for  Tito.    William  Powell  makes  a  perfect  pic- 
ture in  the  part.    He  should  play  Cesare  Borgia. 
Ronald  Colman  plays  an  artist,  steadfast  and 
true;  and  as  we  have  always  been  led  to  believe 
that^artists  are  not  like  that,  his  performance 
can't  be  blamed  if  it's  lacking  in  excitement. 
He,  too,  fits  into  the  portrait;  and  another  who 
adds  dignity  is  Bonavemura  Ibanez,  as  Romola's  dad.  He 
looks  as  if  he  should  be  on  an  old  coin.    The  other  players 
are  aristocrats,  either  of  acting  or  of  Italy's  social  register. 
There  is  a  banquet  scene,  the  first  in  film  history  at  which 
aJlmost   every  guest  behaves  as  a  perfect  little  lady  or 
gentleman.    While  disappointing  in  a  way.  it  provided  a 
note  of  startling  originality. 

There's  much  more  to  be  said  for  and  against  -'Romola." 
My  quarrel  with  Miss  Gish  is  that  she  is  apt  to  lose  her 
sense  of  humor  in  her  ambition  for  art.  It  is  too  bad.  but 
we  would  rather  see  sinners,  or  ordinary  human  beings, 
than  martyrs  any  day.  Because  William  Powell  plays  a 
lovable  rogue  he  is  the  central  figure  on  the  huge  canvas. 
Because  in  New  York  right  now  there  is  a  pfay  called 
"The  Firebrand.""  written  by  a  press  agent  who  was  once 
fired  by  a  film  magnate,  featuring  the  lusty  duels  and 
amours  of  that  splendid  sinner,  Benvenuto '  Cellini,  the 
crowds  may  nor  flock  to  see  "Romola""  as  they  should. 
I  wish  Lillian  would  give  herself  back  again  that  little 
crooked  smile  of  "Broken  Blossoms." 

"Romola"  is  well  worth  going  miles  to  see,  however,  even 
though  the  action  slows  and  becomes  dull  at  times.    For  it 
pictures  vividly  the  exquisite  beauty  of  Italy  and  the  drama 
of  a  period  in  history  which  is  noted  for  its  drama. 
Vive  Lillian! 


SCREENLAND 


"  'The  Wife  of  the  Centaur"  is  just  about  everything  a  motion  picture  should  be." 


IFE  of  the 


TAUR" 


THE  KID  HIMSELF 


OMETIMES  a  motion  picture 
reminds  me  of  a  spoiled 
child.  It's  perfectly  adorable 
when  it's  natural  but  when  it 
tries  to  show  off  the  results  are  pos- 
itively painful. 

"The  Wife  of  the  Centaur"  shows 
the  kid  in  an  offhand  moment.  He 
doesn't  know  there's  company  so  he 
isn't  self-conscious.    He  can  just  be 
himself.    Oh,  gosh,  how  I  wish  he 
could  always  be  like  that!  Because 
"The  Wife  of  the  Centaur"  is  just 
about  everything  a  motion  picture 
entertainment  should  be  except  in- 
structive.    King  Vidor  has  nobly 
refrained  from  hurling  a  moral  at  us 
when  he  could  have  done  it  with  a 
gesture.     Consequently    his  "little 
picture"  has  a  spirit  of  unquenchable 
gaiety  that  keeps  you  on  the  edge  of 
your  seat  all  the  time  and  even  in 
danger  of  turning  a  sudden  hand- 
spring into  the  lap  of  the  bass  viol 
player  in  the  orchestra  (which  would 
startle  the  poor  man  out  of  his  wits 
and  toupee  and  might  even  bust  the 
bass    viol).  In 
other    words,  if 
you   still   have  a 
bit   of  youth 
somewhere  about 
your  person,  you 
can't   help  falling 
for  "The  Wife  of 
the  Centaur" — and 
— er — the  Centaur 
himself. 

He  is  s  o  m  e- 
ihing  new  to  pic- 
tures. He  exists 
in  real  life  just  for 
the  fun  of  it;  just 
to  turn  the  canvas 

from  dull  gray  to  gay  crimson  once  in  a  while.  He's  bold 
and  he's  bad,  but  he's  human.  And  Jack  Gilbert  is  the 
kid  himself.  Jack  with  his  sly  eyes,  his  spoiled  mouth, 
his  prince-of-wales  slouch — both  of  manner  and  hat.  He's 
the  sort  who  can  "break  a  girl's  heart  twenty  times  a  day — 
and  patch  it  up  each  time."  Eleanor  Boardman  is  the 
giri  who  was  willing — and  not  one  girl  there  wouldn't  have 
changed,  places  with  her  in  a  minute.  A  broken  heart  has 
its  compensations  when  the  Centaur  does  the  damage. 
Jack — or  Jeff — sees  his  lady  of  the  moment  in  the 


(\Ailccn  Pringle  is  the 
vamp  who  never  under- 
stands the  secret  of 
John  Gilbert's  nature. 


C["Hc  goes  back  to  the 
lovctv  Eleanor  Board- 


swimming  pool  and  jumps  in  after  her  with  all  his  clothes 
on.  That's  the  spirit  of  the  picture.  He's  always  doing 
things  like  that.  He  talks  like  that  in  his  titles.  He  mar- 
ries one  girl  when  he  wants  another.  He  resolves  to  re- 
form— and  then  falls  for  a  pretty  blonde.  Imagine  a  hero 
who  seems  as  much  surprised  as  you  are  at  his  own  im- 
pulses! Jack  is  so  spontaneous  that  he  seems  to  forget 
a  camera  is  recording  his  actions  to  hold  against  him  if  he 
ever  tries  to  turn  into  a  real  "hero." 

He  turns  conventional  toward  the  very  end — but  as  it  is 
lovely  Eleanor  he  goes  back  to,  you  forgive  him  that,  too. 
Otherwise  we  could  have  wandered  with  the  Centaur  into 


SCREEN  LAND 


43 


other  careless  adventures,  and  the  bolder  he'd  be  the  better 
we'd  have  liked  him.  Aileen  Pringle  plays  a  vamp  and 
never  lets  you  forget  it.  She's  the  only  one  concerned 
who  wasn't  in  on  the  secret  of  the  Centaur's  refreshing 
"I  don't  care."  She's  an  optic  full  in  her  bathing  suit ;  in- 
cidentally she  provided  a  big  laugh  to  the  audience  I  sat 
with  when  she  slipped  a  filmy  negligee  over  her  equally 
filmy  nighty.    It  was  her  only  concession  to  chumminess. 

One  of  those  things  who  have  read  the  book  sat  next 
to  me.    Instead  of  looking  at  the  picture  he  kept  fretting 


about  the  dreadful  things  King  Vidor,  Jack,  Aileen,  the 
extras,  the  bathing  pool,  and  the  title  writer  were  doing 
to  poor  Cyril  Hume's  story.  Mr.  Hume,  so  far,  hasn't 
been  heard  from,  but  you  couldn't  help  hearing  the  man 
who  read  the  book.  I  was  enjoying  the  picture  so  much 
I  didn't  care  what  was  in  the  book  and  didn't  even  trouble 
to  pound  the  book-worm  over  the  head  with  my  umbrella. 
These  people  who  spend  all  their  time  in  a  theatre  worry- 
ing about  what  a  film  company  is  doing  to  their  favorite 
book  shou'd  stay  at  home  with  it. 


"Edna  Ferbcr  deserves  a  slap  on  the  wrist." 


01  Charlotte  Mer- 
riam,  Colleen 
Moore. 


F 


FORTUNATELY.  First  National 
offers  "So  Big"  with  the  following 
explanation:  "Colleen  Moore  in 
Her  Greatest  Histrionic  Achieve- 


ment." If  they  hadn't  taken  the  trouble 
to  do  that  I'd  be  at  my  wits'  end  trying 
to  decide  what  it  was  that  Colleen  was 
driving  at.  Since  her  own  company  ad- 
mits it  is  a  great  histrionic  achievement, 
I  guess  that,  settles  it.  Maybe  "his- 
trionic" doesn't  mean  what  I  thought  it 
did. 

Miss  Moore  has  been  praised  for  her  convincing  por- 
trayal of  old  age  in  the  later  reels  of  "So  Big."  Well, 
Selina  Peake  grew  older,  but  whatever  else  she  was,  she 
was  not  elderly.  She  did  not  dodder.  She  was  an  alert 
little  body  of  advancing  years,  all  right;  but  she  didn't 
need  the  trusty  cap  and  cane  to  put  over  that  fact.  Miss 
Moore  doesn't  fall  back  upon  these  old  props,  but  she 
does  dodder.  She  uses  the  old,  traditional  movie  tricks 
to  denote  senility.  She  looks  old,  thanks  to  her  make-up, 
but  never  once  did  she  suggest  to  me  that  she  really  is 
old,  inside.  Her  characterization  does  not  fail  for  lack  of 
honest  effort.  I  have  seen  a  good  many  hard-working  girls 
on  the  screen  in  my  time,  but  never  such  a  toiler  as  Col- 
leen.   Her  determination  is  worthy  of  a  greater  ability. 

But,  notwithstanding  the  fact  that  the  star  works,  and 
works  hard,  it  was  selfish  of  her  to  choose  for  her  vehicle 
Edna  Ferber's  "So  Big."  The  results  resemble  one  actress' 
picnic.  It  wasn't  so  much  fun  for  me.  An  imaginative 
adaptation  would  have  helped;  but  instead  of  using  their 
wits  and  resources,  those  concerned  stuck  doggedly  to  the 


Gl"Her  ozm  company  admits  it's 
a  great  histrionic  achieve- 
ment." 

text,  forgetting  that  there  are  thousands  who  have  never 
read  "So  Big."  even  if  it  is  a  best-seller.  Not  only  has 
"So  Big"  failed  to  capture  the  indomitable  spirit  of  the 
book,  but  it.  has  failed  to  provide  good  screen  entertain- 
ment. The  motive  was  praise-worthy;  the  methods  medi- 
ocre. 

Charles  Brabin's  direction  is  surprisingly  old-fashioned. 
It  looks  to  me  as  if  he  had  directed  by  numbers.  In  the 
"big  scene  '  in  the  home  of  Rosemary  Theby,  who  might 
just  as  well  have  worn  a  badge  saying  "Vamp,"  all  the 
actors  seem  to  move  to  "One — two — three — act!."  Colleen 
Moore  as  Selina  shakes  so  strenuously  at  times  in  her  ef- 
forts to  appear  elderly  that  it  resembles  a  discreet  shimmy. 

But  after  all  it  is  not  Miss  Moore,  nor  Mr.  Brabin, 
nor  the  company  which  deserves  the  slap  on  the  wrist.  It 
is  Edna  Ferber,  unnatural  mother,  who  sold  her  beautiful 
child  and  then  dismissed  it  from  her  busy  brain,  who  should 
have  a  good,  old-fashioned  spanking. 


Miss  Moore  has  been  praised  for  her  convincing  por- 
trayal of  old  aae  in  the  later  reels  of  "So  Bis:.' 
Joseph  De  Grassc  and  Colleen  Moore. 


44 


SCREE  N  L  AN.D 


'It's  no  super-special  or  other  soup;  it's  just  good  entertainment." 


OVE'S 


LDERNESS" 


QCorinne  is  one  of  our  leading  specialists  in  love. 


of 

LOVE) 


T 


"S^HE  good  old  "love"  titles  are  coming  in  again. 
The  gentle  emotion  was  always  dubbed  "passion" 
in  the  old  days  but  since  the  Hays  house-cleaning, 
it's  love.  Just  to  keep  the  feeling  alive,  this  month 
(here  are  two  pictures  to  press-agent  the  thing.  "Love's 
Wilderness"  is  by  far  the  better.  It's  no  super-special  or 
other  soup;  it's  just  good  entertainment.  Besides,  it  has 
Corinne  Griffith;  and  Corinne  is  one  of  our  two  or  three 
leading  specialists  in  love.  It  never  seems  incongruous 
when  Corinne  has  alll  the  men  in  the  cast  in  love  with 


Corinne  Griffith 
Holmes  Herbert 


her,  as  it  often  does  in  screen  affairs. 
It  would  be  strange  if  they  weren't. 

We  all  know  that  Miss  Griffith 
is  not  making  her  screen  debut; 
that  on  the  contrary  she 
has  been  making  regular  .  ap- 
pearances for  a  good  many  years. 
Yet  when  she  wears  her  hair  down 
her  back  and  romps  around  as  an  in- 
genue she  makes  you  believe  it.  Even 
the  older  ladies  do  not  sniff  and  re- 
call her  first  pictures.  And  when 
she  grows  up  she  manages  to  retain 
an  air  of  a  little  girl  dressing  up 
in  her  big  sister's  clothes.  So  you 
don't  mind  when  two  such  stunning 
leading  men  as  Holmes  Herbert  and  Ian  Keith  are  both 
madly  in  love  with  her.  I  wish  some  kind  scenario  writer 
would  write  in  a  role  for  Herbert  in  which  he  is  not  picked 
on.  He  looks  like  the  kind  of  man  who  wouldn't  stand 
for  it.  But  getting  Corinne  was  probably  more  than  com- 
pensation for  all  he  went  through. 

.There's  variety  in  "Love's  Wilderness."  It  begins  in 
Louisiana,  jumps  to  Canada,  and  then  to  a  tropic  is!e.  But 
there's  always  Corinne  right  there  to  take  you  by  the  hand 
in  case  you  feel  dizzy. 


"One  of  those  Spanish  things." 


RGENTINE 


OVE 


/  /  A  RGENTINE  LOVE"  is  one  of  those  Spanish 
66    A  things. 

/£==A  Spanish  people  may  behave  like  that,  but  I 
A  )\  can't  see  why  the  director  lets  them  do  it  on 
I  he  screen.  They  simply  seem  to  romp  around  shouting, 
"We're  Spanish — didn't  you  know?"  Because  Bebe  Dan- 
iels is  a  dashing  brunette  it  was  probably  assumed  that  she 
would  be  a  convincing  senorita;  but  to  Bebe's  credit  let 
it  be  said  that  the  Spanish  spirit  didn't  get  her  to  the 
degree  it  possessed  the  other  members  of  the  cast.    She  re- 


mained herself,  and  practically  saved  the  picture. 

She's  one  of  those  heroines  who  are  so  much  in  demand 
that  her  admirers  go  around  muttering,  "What  is  mine,  I 
keep!"  I  know  of  no  actor  in  the  films  who  can  mutter 
this  so  well  as  Ricardo  Cortez.  He  has  a  way  of  narrow- 
ing his  eyes  which  must  mean  he  is  awfully  continental 
He's  very,  .very  handsome;  but  he  isn't  Rudolph  Valentino, 
and  some  one  should  let  him  know  it  right  away. 

If  I  were  James  Rennie  and  any  director  told  me  to  act 
the  way  he  did,  I  would  challenge  him  to  a  duel  unless  I 


scree.nl  and 


45 


Iff 


V 


Ricardo  Cortes. 
Bebe  Daniels. 


Q."Bebe  remained  herself  and  practically  saved  the  picture. 


could  think  of  that  ""four-letter  word  meaning  punch  in 
the  eye."  Otherwise,  I  would  stick  to  the  stage.  The  most 
convincing  Spanish  gentleman  in  the  cast  is  Marc  Gon- 
zalez, who  may  be  a  real  Spaniard.  Unfortunateily,  Marc 
is  killed  off  rather  early. 

born'  rich 

tf  ""Born  Rich"  had  been  made  in  Germany  "press  and 
1  public"  would  rise  as  one — one  what?  don't  ask  foolish 
questions — and  chatter.  "What  charm — how  continental— 
these  Europeans  are  so  daring."  But  as  it  was  made  in 
little  old  New  York — up  in  the  Bronx,  in  fact — it  will  prob- 
ably be  placarded  as  just  another  society  drama. 

It  isn't  a  great  picture — far  from  it:  and  it  makes  no 
such  pretensions.    It  is  a  comedy-drama  of  two  young  peo- 
1  pie,  "born  rich."  and  it  takes  place  in  settings  which  can- 
|  not  boast  gold  bathtubs  or  French  maids  wearing  little 
.  caps  and  lace  aprons  and  high-heeled  shoes.    It  is  one  ol 
the  first,  or  very  few  movies,  to  let  the  rich  live  in  houses 
and  not  palaces;  and  to  make  them  behave  in  a  manner 
very  nearly  natural.     It  may  be  because  the  couple  is 
I  Claire  Windsor  and  Bert  Lytell.  as  natural  and  charming 
|  a  combination  as  the  screen  has  to  offer.    It  leads  them 


through  various  vicissitudes  without  robbing  them  of  at 
least  one  full-sized  sense  of  humor.  And  if  a  little  child 
is  finally  made  to  lead  them,  it  is  a  little  child  no  one  will 
object  to — a  bad,  spoiled,  smarty  youngster,  and  faithfully 
represented  as  such.  Played  by  Jackie  Ott.  the  pride  and 
joy  of  the  household  bosses  his  mother,  talks  back  to  his 
father,  and  otherwise  behaves  in  a  manner  dangerously 
realistic.  Don*t  take  the  kiddies  to  see  Jackie.  They  might 
learn  a  few  new  tricks. 

The  titles  by  Walter  de  Leon,  a  humorist — yes.  really — 
who  also  dashes  off  sketches  for  the  revues — are  the  best 
I  have  read  in  a  long  time.  Mr.  de  Leon  actually  pokes 
fun  at  a  time-honored  movie  tradition.  He  dares  to  trav- 
esty Title  Number  One  in  the  book:  "Came  Dawn"  to 
which  he  impishly  adds.  '"Right  on  time  as  usual."  That 
alone  makes  "  Born  Rich"  worth  seeing. 

BARRIERS  BURNED  AWAY 

fNLESS  you  have  reached  the  stage  in  which  you  scorn 
the  good  old  stock-company  melodrama,  and  never 
take  a  peek  into  Frank  Merriwell  anv  more,  don't  fail  to 
see  "B  arners  Burned  Away,  or  the  Great  Chicago  Fire. 
You  will  have  a  grand  time. 


Some 


Fix 


ms 


By  Martin  B.  Dickstein 


C["  'The  Last  Man  on  Earth'  has  everything 
you  could  see  at  the  Winter  Garden." 


[OFT  job  that  fellow  Earle  Foxe  had 
playing  in  the  last  pair  of  pants  out- 
'  side  of  a  freak  museum.  It  was  the 
year  1950,  you  know,  and  Earle  is 
seen  as  the  last  man  on  earth  after  a  ter- 
rible epidemic  of  masculitis  had  wiped  away 
all  the  rest  of  the  flask  toters  like  potato 
bugs  under  a  spray  of  Paris  green.  William 
Fox  has  hit  upon  a  splendid  idea  in  The 
Last  Man  on  Earth,  one  that  will  draw 
curiosity  seekers  to  his  theatres  wherever 
it  is  shown.  But  if  he  only  hadn't  spread 
the  girly-girly  stuff  on  so  thick!  Certainly, 
his  idea  of  what  the  well  dressed  girl  will 
wear  in  the  year  1950  is  as  good  as  ours  or 
anybody's  else,  but  really  the  man  who  de- 
signed the  costumes  should  have  used  some 
discretion. .  Even  the  tiredest  business  man 
twenty-five  years  hence  shouldn't  relish 
seeing  in  his  own  office  what  he  demands  to 
see  after  business  hours.  The  Last  Man  on 
Earth  has  everything  in  it  that  you  could  see 
■  from  down  front  and  center  at  the  Winter 
Garden — everything  but  the  pink  lighted 
runway  and  the  curtain  of  living,  breathing 
beauties.  The  suggestive  humor  is  there 
aplenty  in  the  subtitles. 

Yet,  of  course,  there  are  those  who  like 
that  sort  of  thing  in  the  films  and  hesitate 
not  to  brand  it  art  of  the  very  first  water. 
Let  him  who  has  never  furtively  sidled  into 
a  matinee  or  a  burlesque  show  cast  the  first 
brick. 

In  Whitman  Bennett's  most  recent  screen- 
.  ing,    The   Lost    Chord,   the   idea   is  fur- 
nished, of  course,  by  the  famous  old  song. 

The  Lost  Chord,  on  the  screen,  captures 
much  of  the  sentiment,  charm  and  mellow- 
ness of  the  original  musical  composition.  In 
it  Mr.  Bennett  gives  us  glimpses  into  just 
what  a  motion  picture  can  be  without  the 
usual  sexual  maelstrom  and  problem  patter 
which,  more  than  anything  else,  have  kept 
the  movies  in  rompers  all  these  years. 

The  story  concerns  one  Arnold  Grahme, 
a  celebrated  organist  who  wooes  his  beloved 
Madeline  by  the  medium  of  his  own  music. 
But  Madeline  dies  and  all  love's  labor  is 
lost.  Years  later  the  musician -falls  in  love' 
with  his  old  sweetheart's  daughter  but  again 
his  ardor  is  thwarted  when  he  learns  that 
his  own  nephew  is  betrothed  to  the  girl 
whom  the  organist  had  hoped  some  day  to 
marry.  What  better,  then,  that  Arnold 
should  seat  him  one  day  at  the  organ,  feel-, 
ing.  weary,  and  ill  at  ease — and  that  his 
fingers  should  wander  idly  over  the  noisy, 
keys? 


•46 


Fhotograph  by  Edward  Tha_\er 


Helen  £ee  Worthing 

Has  come  back  to  the 
screen  in  "The  Sivan" 


01  Every  year  the  men  of  the 
■  IFAMPAS  select  the  th  irteen 
most  promising  girls  and  draw 
the  attention  of  the  movie  world 
to  their  good  work  by  calling 
them  W  A  M  P  A  S  BABY 
STARS. 


Q.Mdny  of  the  girls  picked  in 
other  years  have  now  come  to 
stardom.  To  be  a  W AM PAS 
BABY  STAR  is  the  highest 
honor  a  girl  playing  small  parts 
can  win. 


Photograph 

01  Natalie  Joyce  was  bom 
Norfolk,  Fa.,  and  spent  a 
great  deal  of  her  early  youth 
in  Pittsburgh.  Al  Christie 
discovered  her,  and  she  zvas 
engaged  as  leading,  lady  for 
Neal  .Burns. 


WAMPAS  BABIES 
Of  Other  Yean 

Lois  Wilson 
Jacqueline  Logan 
Claire  Windsor 
Lila  Lee 
Bessie  Love 
Colleen  Moore 
Patsy   Ruth  Miller 
Eleanor  Boardman 
Virginia  Brown  Fair.: 
Pauline  Garon 
Laura  La  Plante 
Jobyna  Ralston 
Kathleen  Key 
Dorothy  Devore 
Pauline  Starke 


CI  Evelyn  Pierce  was  bom 
m  Del  Rio,  Texas, 
nineteen  years  ago.  She 
went  to  school  in  El 
Paso  and  began  her 
professional  career  as 
a  vaudeville  dancer. 
This  brought  her  to 
Eos  Angeles. 


Photograph 
Edwin  Bower 


by 
Hesser. 


=£i^ii^£i£^!L^l_^/^?2c^  next  the  Work,  and  then  a  world  ri 


nging 


58 


WAMPAS  1925 


RABY 


STARS 


Following  is  a  description  of  the  1925  Wam- 
pas  Baby  Stars,  who  were  introduced  at 
the  Ambassador  Hotel's  new  Auditorium  on 
February  fifth. 

Betty  Arlen :  A  chestnut-haired,  demure 
little  miss  of  sixteen  years,  who  was  born  in 
Providence,  Ky.  She  began  her  professional 
career  as  a  dancer. 

Violet  Avon  is  a  sister  of  Laura  LaPlante, 
a  -Wampas  Baby  Star  of  1923.  Violet 
changed  her  name  on  the  screen  to  avoid 
conflict  with-  her  sister's  career.  She  was 
born  in  St.  Louis,  Mo.  She  was  leading  lady 
for  Ben  Wilson  in  "His  Majesty,  The  Out- 
law." 

Olive  Borden,  sixteen  years  old,  was  born 
in  Richmond,  Va.,  and  was  reared  there  and 
in  Norfolk.  She  has  long  black  hair  and  her 
eyes  are  dark  brown.  She  attended  a  Convent 
in  Baltimore  and  came  to  Los  Angeles  with 
her  mother  a  little  more  than  a  year  ago.  She 
has  played  leading  roles  at  several  comedy 
studios  and  for  the  past  year  has  been  a 
featured  player  at  the  Hal  Roach  Studios. 

Mary  Brian,  sixteen,  with  brown  eyes  and 
brown  hair,  was  born  in  Corsicana,  Texas. 
Shortly  after  her  arrival  in  Los  Angeles  she 
won  a  newspaper  beauty  contest.  This 
brought  her  to  the  attention  of  film  producers, 
and  she  was  chosen  for  the  important  role  of 
Wendy  in  "Peter  Pan."  She  is  now  under  a 
long-term  contract  with  Paramount. 

Virgina  Lee  Corbin  is  not  unknown  to  film 
fans ;  she  was  celebrated  as  a  child  star  for 
several  years.  But  Miss  Corbin  is  a  young 
lady  of  sixteen  summers  now  and  is  coming 
to  the  fore  as  a  leading  woman  of  great 
promise.  She  has  appeared  in  "Wine  of 
Youth,"  "The  City  That  Never  Sleeps," 
"Broken  Laws"  and  other  feature  pictures. 

Anne  Cornwall,  with  dark  brown  eyes  and 
hair,  was  born  in  Fort  Hamilton,  N.  Y.  She 
was  educated  at  Catskill,  N.  Y.,  lived  a  short 
time  in  New  York,  and  has  been  in  motion 
pictures  in  Los  Angeles  for  several  years. 

Madeline  Hurlock  was  born  in  Federals- 
burg,  Maryland,  but  when  she  got  old  enough 
to  get  a  hankering  for  the  theater,  she  joined 
a  troupe  in  Philadelphia,  and  it  was  not  long 
before  her  beauty  led  to  the  famous  "vamp" 
roles  opposite  Ben  Turpin  for  Mack  Sennett. 

Joan  Meredith  was  born  in  Hot  Springs, 
Ark.  She  is  a  little  over  five  feet  tall  and 
weighs  110  pounds.  Joan  was  given  her  screen 
name  by  the  Wampas,  her  real  name  being 
Catherine  Jelks.  A"  beauty  contest  conducted 
bv  a  Los  Angeles  newspaper  was  won  by  Miss 
Meredith  and  led  to  her  debut  in  pictures. 


Dorothy  Revier  was  born 
April  IS,  1904,  in  San  Fran- 
cisco. She  commenced  a  danc- 
ing career  at  the  age  of  five, 
which  eventually  led  to  her 
motion  picture  work. 

Lola   Todd   became  a  mem- 


Photograph  by  Edwin   Bower  Hessei-. 

Q  Duane  Thompson  teas  born  in 
Red  Oak,  la.,  in  1905.  With 
dancing  as  a  foundation  for 
a  theatrical  career,  she,  em- 
harked  on  what  is  apparently 
leading  her  to  fame  and  for- 
tune— the  cinematic  journey. 


ber  of  the  Todd  family  nine- 
teen years  ago  at  Spuyten 
Duyvel,  N.  Y.  Her  hair  is 
of  nut  brown  hue  and  her  eyes 
are  of  a  slightly  darker  shade. 
Her  entry  into  pictures  was 
made  through  Carl  Laenimle. 
who  discovered  her. 


with  praise  and  the  happiness  of  being  acclaimed  "a  good  little  trouper. 


59 


Fro  m  Hollywood 
comes  this  photograph 
whose  ingratiating 
charm  will  appeal  to 
artists  and  nkelcle  play- 
ers alike. 


Photograph  by  W.  F.  Scely. 


showing 
Youth. 


Ruth  Hanson,  the  Shubert's  charming  protege,  combines  a  butterfly 
daintiness  with  flower-like  beauty. 


AIETY  THEA- 
.  TRE — The  mov- 
ies are  always 
looking  for  plays 
the  triumph  of 
There's  one  for 
them  under  the  name  of 
The  Youngest,  which  Philip 
Barry  wrote  for  Henry  Hull 
and  Genevieve  Tobin  to 
star  in.  Richard  Winslow, 
the  youngest  of  six  brothers 
and  sisters,  is  the  butt  of  all 
the  family  jokes,  the  jibes, 
the  taunts  that  fall  some- 
times to  a  youngest  son 
when  he  is  at  the  awkward 
age,  particularly  if,  as  in 
the  case  of  Richard,  he 
thinks  himself  an  author. 
(If  Glenn  Hunter  does  not 
get  this  part  then  there  is 
no  justice  in  screenland.) 

Reel  One  —  Starts  out 
with  the  invitation  of  Nancy 
Blake  (enter  Patsy  Ruth 
Miller)  a  popular  and 
wealthy  society  girl,  to 
spend  a  few  days  at  the 
Winslow  home.  Richard^ 
sister  Martha  has  invited 
her  with  the  express  un- 
derstanding that  she  is  to 
make  a  fuss  over  Richard. 
Now  Nancy  enjoys  "mak- 
ing people  over"  and  she 
decides  to  vamp  Richard 
till  he  thinks  he  is  the  most 
important  member  of  the 
family. 

Reel  Two— Under  Nan- 
cy's inspiration  Richard  be- 
gins to  show  a  little  spunk. 
Through  his  brother-in-law. 
who  is  a  lawyer  he  learns 
that  under  his  dead  father's 
will  he  is  legally  the  owner 
of  the  family  homestead,  the 
family  pin  factory,  and  all 
the  family  wealth. 

Reel  Three  —  Oliver  is 
Richard's  oldest  brother  and 
most  pompous  persecuter. 
(Who  in  the  movies  could 
play  this  part?)  It  is  his 
yearly  custom  to  make  a 


62 


r  atrial  and 


By  Myron  Xobel 


How  the  current  plays  look  to  The-Man-  Who-Knows- 
the-Movies,  and  what  possibilities  they  suggest  to  him. 


James   Gleason,   co-author   of  the  play,   and  Robert  Armstrong,  the 
playwright,  in  "Is  Zat  So?"    In  the  background,  Tom  Brown,  Marie 
Chambers  and  John  C.  King. 

speech  on  the  fourth  of  July  to  the  villagers.  But  when  he  infuriates  Rich- 
ard by  cutting  off  his  allowance  of  eighty  dollars  a  month  and  then  locks 
up  his  manuscripts,  the  worm  turns  and  Richard  grabs  the  speech  his  brother 
has  written  out  and  tears  it  up  before  his  eyes. 

Reel  Four—  Poor  dumb  Oliver  gets  up  before  the  assembled  natives  and 
is  unable  to  utter  a  word.  He  is  lost  without  his  written  speech.  Then 
Richard,  meek  little  Richard,  grabs  the  platform  and  saves  the  day  with  an 
address  'that  is  a  beautiful  mixture  of  everything  he  has  ever  read,  seen  or 
heard. 

Reel  Five — Richard  now  tells  his  family  that  the  house  they  live  in  is  his, 
the  factory  is  his,  everything  is  his.    And  he  intends  to  command  the  love, 
respect  and  attention  that  has  been  denied  him  for  years  past.    His  revenge 
is  sweet.    Oliver,  who  has  sneered  at  his  writing,  is  made  to  write  a  poem 
;i  a  day  and  submit  it  to  Richard  before  his  monthly  check  is  paid.  Richard 
,  at  last  is  Boss  of  the  Ranch,  Cock  of  the  Roost  and  Captain  of  the  Ship. 
Reel  Six — Nancy  prevails  on  Richard  to  "divvy  up"  with  his  family.  He 
takes  her  advice.    Then  he  takes  her.    And- then  he  takes  the  count.' 

J_Jenry  Miller's  Theatre— Thomas  Meighan,  you  are  cast  for  a  hand- 
some explorer,  an  idol  of  the  ladies.    Your  part  is  that  of  Tonv  Blunt 
in  Quarantine,  a  comedy  by  F.  Tennyson  Jesse. 
Reel  One—On  board  the  S.S.  Angostura  bound  for  Esmeralda  is  Tony 


Photograph  by  De  Mirjian. 


Photograph  by  H.  A.  Atwcll. 

°l  Al  Jolsou  iii   "Big  Boy"  at 
the  Winter  Garden. 


Photograph    by    Kenneth  Alexander. 


fJMarjorie  Teters 

and  a  lady  with,  whom  he  has  eloped,  the  wife  of  another 
man.  (Don't  be  shocked.  All  will  be  well.  Aye,  even 
unto  the  last  censor.)  For  four  days  now  the  lady  has 
denied  herself  to  Tony's  eyes,  pleading  sea-sickness.  At 
last  the  curiosity  of  the  passengers  and  the  impatience  of 
Tony  can  be  denied  no  longer  and  the  lady  emerges  from 
her  stateroom  with  her  face  completely  covered  by  a  veil. 

Reel  Two — What  is  Tony's  surprise  when  he  discovers 
not  the  fair  Pamela  (with  whom  he  intended  to  elope )  but 
one  Dinah  Partlett,  a  little  friend^  of  the  lady  in  question; 
and  a  clergyman's  daughter  to  boot.  (For  this  part  I 
strongly  recommend  Bessie  Love.  There  is  a  considerable 
amount  of  cleverness  and  quite  some  cuteness  needed  for 
it.    Bessie  has  both.) 

Reel  Three — Of  course  Dinah  has  been  in  love  with  Tony 
for  years.  Who  hasn't?  But  she  pleads  the  martyr  and 
says  she  came  to  prevent  Pamela's  coming.  For  Pamela 
is  married  and  Dinah  is  not. 

Reel  Four — Tony  at  first  is  furious  and  decides  to  teach 
Dinah  a  lesson.  It  seems  that  the  ship  is  put  under  quar- 
antine for  a  week  and  when  they  arrive  on  Pigeon  Island  to 


brings  the  charm  of  innocence  '  . 
to  ''Annie  Dear" 

wait  out  the  time  Tony  says  they  are  a  honeymoon  couple 
and  they  are  given  the  Honeymoon  Bungalow  with  a  single 
bedroom  which  must  be  shared.  (Still  must  the  censor's 
shears  squirm  on:in  vain.) 

Reel  Five — Night  comes  and  Dinah  retires  alone.  But 
Tony  crawls  through  the  window.  Dinah  screams  and  Tony 
reads  her  a  moral  lecture.  He  leaves  the  room,  saying  he 
will  return  when  he  has  prepared  for  bed.  The  lights  are 
out.  The  door  opens.  Dinah  has  secretly  combed  out  her 
hair  and  made  herself  as  attractive  as  possible.  Some  one 
crawls  into  the  other  bed.  It  is  not  Tony,  but  Dinah's 
nurse  instead.  He  has  sent  her  to  take  his  place.  "Good 
night,"  says  the  nurse.  "G-o-o-d  night!!!''  said  Dinah's 
peevish  voice.    That  voice  spoke  volumes. 

Reel  Six — Pamela  and  her  husband  arrive  from  England. 
Pamela  to  see  Tony,  her  husband  to  look  out  for  Dinah. 
Of  course  there  is  a  scene.  But  Pamela  keeps  her  mouth 
shut  because  she  is  afraid  of  being  scorned.  Her  husband 
learns  nothing.  But  Tony  learns  that  Dinah  has  been  carry- 
ing a  picture  next  to  her  heart.  And  that  picture  is  of  him. 
Embrace.  Curtain. 


64 


ow  to  Succeed  in  the 
Movies— Simply  be  named 


ETTY 


G[Betty  Compson, — the  adored  and  imitated,  the 
shapely  and  provocative.  She  is  shown  here 
exercising ,  and  as  in  everything  else  whatever 
she  does  she  docs  thoroughly  and  well. 


GiBetty  Bronson 
is  the  newcomer 
who  in  Peter  Pan 
tries  to  carry  the 
n  a  m  e  to  yet 
greater  heights 
of  accomplish- 
ment. 


(\Bctty  Blythc.  Her  beauty  of  form 
is  famous,  and  her  lovely  face  is 
appealing  and  expressive. 


65 


Here  is  zvhat  a 
film  set  really 
looks  like 

Taken  during  the 
filming  of  "The 
Bridge  of  Sighs" 
which  Phil 
Rosen  directed 
for  W  a  r  n  e  r 
Brothers.  Rosen 
is  in  the  right 
b  a  c  k  ground 
standing  over 
Richard  Tucker 
and  Dorothy 
Mackaill.  Note 
the  set  musicians 
at  the  left  center, 
e  I  e  c  t  r  i  cians 
perched  above 
the  set, 


ran  i 


ND 


By  1.1  B.  K.  Wilis 


MATRIMONIAL  epidemic  is  on  in  Hollywood. 
Nearly  every  star  you  meet  is  either  rushing  into 
or  out  of  wedlock,  but  of  late  the  "ayes"  have 
had  it.    Poor  Dan  Cupid  is  down  at  the  heel 
and  his  tongue  is  hanging  out  a  foot  from  fatigue.  He's 
twanged  a  busy  bow.    Lookut  the  scalps  on  his  quiver ! 
The    sophisticated    and    irrepressible    Charlie  Chaplin 


started  all  the  trouble  with  his  runaway  match  in  Mexico, 
where  he  took  Lita  Grey,  just  sixteen  (although  she  says 
she's  nineteen )  unto  himself  as  wife.  Thereby  putting  a 
happy  ending  on  the  fairy  tale  that  is  Lita's  life.  It's  not 
every  girl  who  marries  her  Prince  Charming. 

Lita.  is  very  happy  up  in  the  big  forty-room  Chaplin 
mansion  in  Beverly  Hills,  right  close  by  to  Pickfair,  the 


66 


home  of  Douglas  Fairbanks  and  Mary  Pickford,  though 
the  board  of  education  forces  her  to  keep  on  with  her 
high  school  studies  under  the  supervision  of  a  tutor. 

A  glance  at  Lita's  last  report  card  supports  her  teacher's 
claim  that  she  is  a  good  little  student.  For  instance,  she 
rated  100  on  deportment;  98  on  dramatics;  spelling,  94 
(darn  few  actresses  can  spell);  reading,  98;  writing,  95, 
and  business  English,  95. 

Lita  hasn't  had  much  of  a  honeymoon  as  yet,  since  her 
celebrated  husband  has  been  so  busy  making  "The  Gold 
Rush,"  that  Alaskan  comedy  of  his. 

Lita  started  out  as  Charlie's  leading  lady,  but  since  the 
wedding  the  comedy  king  has  announced  that  another 
charmer  is  to  succeed  her  as  queen  of  his  troupe. 


Phyllis  Haver  has  sailed  for  Paris  to  appear  in  a  picture 
in  France. 


Jack  Holt  suffered  two  fractured  ribs  while  working  on 
location  in  Zane  Grey's  "The  Thundering  Herd"  near  Mam- 
moth, Cal,  in  the  high  Sierras.  Though  in  intense  pain 
Holt  continued  working  and  managed  to  conceal  his  injury 
for  two  days. 


The  romance  between  Estelle  Taylor  and  Jack  Dempsey, 
baron  of  biff,  has  been  fought  to  a  decision.  Jack  has 
become  her  business 
manager,  however,  and 
they  are  seen  everywhere 
together.  They  discuss 
their  hymeneal  plans 
with  no  one,  but  Estelle 
can  argue  with  Jack. 


Jack  Pickford  has  been 
signed  for  the  juvenile 
lead  in  "The  Goose  Wo- 


man. 


Ruth  Clifford  is  now 
in  Honolulu  with  a 
trousseau  of  twenty-two 
frocks  and  appurtenances 
and  her  retired  banker 
husband,  James  A.  Cor- 
nelius, Beverly  Hills 
realty  dealer,  for  a  Ha- 
waiian honeymoon.  She 
will  keep  on  with  her 
screen  work  after  she 
returns  this  month. 


Estelle  Taylor  soon  to 
Mrs.  Jack  Dempsey. 


be 


Avast  there,  ye  cooing 
doves!    Let's  get  down  to  sterner  stuff. 


Down  Green  street  hill,  "belly-flop"  fashion,  Jackie 
hurtled.  His  daddy  used  to  disport  on  the  same  grade 
not  so  very  many  years  ago. 

Jackie  stopped  in  Syracuse,  N.  Y.,  on  his  way  home 
from  Europe  to  visit  his  paternal  grandparents,  and  it 
was  snowing.  ■  The  snow,  however,  was  light,  and  that 
night  before  the  .  famous  lad  went  to  sleep  he  prayed 
for  snow. 

"Pack  in  snow,  0  Lord!"  he  pleaded,  "the  kind  you 
can  make  snowballs  with  and  slide  on." 

The  next  morning  he  found  his  prayer  had  been 
answered. 


The  neighborhood  gang  was  awed  when  Jackie  emerged 
Irom  his  granddad's  house.  The  idol  of  the  screen  playing 
with  them!    It  seemed  like  a  fairy  tale! 

"Hey  kids!  Come  on  and  I'll  race  you  down  the  hill," 
Jackie  yelled,  and  the  spell  was  broken.  Then  a  jumble 
of  boyish  bodies,  tumbling,  rolling  and  throwing  snowballs 
with  might  and  main. 

Jackie  got  bumped  on  the  nose  with  a  fast  one  

"It's  the  first  time  I  ever  got  hit  with  a  snowball.  It's 
the  first  time    .    .  ." 

So,  you  see,  the  triumphs  in  Europe,  the  receptions  from 
royalty  and  nobility  have  left  no  mark  on  Jackie  Coogan. 
When  the  camera  grinds  he  is  Jackie  Coogan,  the  juvenile 
genius,  but  when  snow  flies,  he's  Jackie  Coogan,  the  kid. 


Here's  what  Jesse  L.  Lasky,  vice-president  of  the 
Famous  Players-Lasky  Corporation,  wired  to  his  chief, 
Adolph  Zukor,  about  little  Betty  Bronson: 

"And  as  for  Betty  Bronson's  'Peter  Pan.'  I  saw  Maude 
Adams  create  this  character.  It  was  the  inspired  perform- 
ance of  a  great  artist  creating  a  new  and  different  role — a 
performance  so  great  that  it  will  never  be  forgotten  as  long 
as  the  history  of  the  legitimate  stage  is  remembered — but 
Betty  Bronson  does  not  give  a  performance.  She  Is  Peter 
Pan.  This  inspired  child  lives  the  role  until  you  forget 
she  is  an  actress  playing  a  part.  Her  performance  is 
almost  uncanny  inasmuch  as  it  is  impossible  to 
believe  that  here  is  a  new  personality  making  her 
debut  as  an  actress.  Twenty  years'  expenence  could 
hot  have  added  to  the  witchery,  charm  and  pathos 
which  she  injects  into  the  role  of  the  little  boy  who 
did  not  want  to  grow  up.  I  have  said  many  times 
that  we  will  never  live  to  see  another  Mary  Pickford. 
I  think  when  you  have  seen  Betty  Bronson's  per- 
formance you  will  agree  with  me  that  I  can  take 
this  back." 


Viola  Dana  trying  to  think  of  a  zcord  of  four 
letters— C  U  something  E — meaning  J'iola 
Dana. 


67 


68 


SCREENLAND 


Three  of  Filmdom's  Greatest— Left  to  right,  Lillian  Gish 
Mrs.  Charlotte  Pickford,  Mary  Pickford.  and  Dorothy 

Imagine  the  joy  that  was  Betty's  when  she  heard  of  the  tribute  Mr: 
Lasky  paid  her!  To  be  likened  to  Mary  Pickford,  idol  of  the  world,  and 
declared  to  be  her  equal! 

Though  it  seemed  as  if  her  heart  would  burst  with  happiness,  Betty 
merely  smiled  the  sweetest  smile  in  the  world  and  said: 

"I'm  glad !" 

All  of  which  makes  me  think  a  lot  of  Jesse  Lasky.    I  could  have  told 
him  that  last  December. 


Pat  O  Malley  has  opened  a  theater.  His  little  daughter,  Eileen,  gets 
the  profits— and  they  are  pins!    But  Pat  does  all  the  work. 

It    happened  this 
way: 

The  "show*'  craze 
hit  the  O'Malley 
neighborhood.  Nearly 
every  backyard  boast- 
ed a  tent.  Three  pins 
was  the  universal  ad- 
mission fee  to  the 
performances,  as  it 
has  been  with  chil- 
dren the  country  over 
for  many  years. 

One  day  little 
Eileen  tearfully  told 
her  daddy  all  about 
it — of  the  boxes  of 
pins  the  other  chil- 
dren had  amassed 
and  how  her  mother 

wouldn't  let  her  use  the  garage  for  a  "show.'" 

Eileen  has  several  thousand  dollars  in  the  bank  from 
her  picture  earnings  and  real  estate  speculation,  but  she 
wanted  pins. 

Hence  Pat  gave  two  performances  a  day  for  three  days 
in  the  garage  at  ten  pins  admission.  He  did  the  wire- 
walking  stunt  of  his  circus  days.    Eileen  danced,  as  did 


David  and  Ernest  Tor- 
rencc  are  more  than 
just  brothers.- ,  They 
are  _  inseparable  com- 
panions on  the  links. 


Frankic  Darro.  the 
latest  kid  "  find."  He 
proves  here  that  tvork- 
ing  in  pictures  is  a  pipe. 


Sheila.    Mary,  the  recent  baby,  crowed. 

Soon  there  wasn't  a  pin  in  the  neighborhood. 


Raymond  McKee 
mustache. 


has 


up.     He's  wearing 


Feminine    fans    would    be    surprised    to   glimpse  their 


SCREENLAND 


69 


Virginia  Lcc  Corbin 
and  Al  Wilson  and  a 
three  letter  zvord  be- 
g inning  with  ''giddap." 

M  ii  r  i  e  I 
F  r  a  11 'i  e  s 
Dana,  child 
star,  is  quite 
a  swimmer 
as  zvell  as  a 
corking  little 
trouper. 


Bess  Meredyth,  scenarist,  who 
has  just  finished  writing  the 
script  for  ''Ben  Hur,"  wrote 
syndicate  stories  for  a  Buffalo 
newspaper  when  she  was  a  lass 
of  sixteen? 


Alec  B.  Francis  was  crossing 
Hollywood  boulevard,  after  pur- 
chasing an  armful  of  paints,  pow- 
ders and  grease-sticks  for  use  in 
making  up,  when  he  dropped  the 
parcel.  The  wheels  of  a  five-ton 
truck  ran  over  it.  The  package 
was  a  total  loss  and  the  reds  and 
blues  were  smeared  all  over  the 
pavement. 

An  old  lady  passed  Alec  as  he 
stood  viewing  the  wreckage.  She 
looked  pathetically  at  him  and 
said: 

"Oh!    The  poor  little  dog!" 


Aimee  Morton,  a  Chicago  girl 
with  a  medal  for  composition  at 
a  musical  school,  has  written  an 
ode  to  Carmel  Myers  and  set  it 
to  music.  If  the  music  is  any- 
thing like  the  words,  it's  a  humdinger.  List: 

Pellucid  pools  in  woodland  dense. 
Sparkling  mid  primal  quiescence — 
Darksome  and  deep,  of  mystic  sheen. 
Are  the  eyes  of  my  Screenland  queen. 


Ain't  we  all?  I'll  bet  Carmel's  glad  she's  in  Germany,  where  love 
takes  the  form  of  pretzels,  and  beer  has  a  liquid  note  a  love  tilt  never  had! 


favorite  stars  on  the  set,  for  many  of  the 
filmy  famous  utilize  color-psychology  to'help 
them  emote.  Claire  Adams,  protege  of 
William  De  Mille,  uses  black  or  grey  to 
engender  pathos;  yellow,  pink  or  green  for 
party  scenes;  dark  red  for  anger,  carnelian 
for  love,  and  lavender  for  pensive  moments. 

Such  a  play  of  color  is  not  evident  on  the 
screen,  for  red  photographs  black;  light 
yellow,  white;  and  dark  yellow  becomes 
a  grey. 


Bert  Lytell  is  being  checked  up  for  his  '"bad  checks."  They  are  not 
on  any  bank.  They  are  on  Bert.  His  fancy  waistcoats  vie  with  the 
spectrum.  They  are  checked  vests  of  tan  and  cream,  black  and  gray, 
orange  and  blue,  green  and  yellow,  cerise  and  old  gold.    His  collection 


DID  YOU  KNOW  THAT  

Alec  B.  Francis  shocked  wheat  in  the  grain 
fields  of  the  Canadian  Northwest  after  spend- 
ing four  years  with  the  British  army  in 
Ind:a? 

Robert  Frazer,  whom  Pola  Negri  proclaims 
the  greatest  screen  lover,  used  to  run 
errands  for  a  general  store  in  a  little  New 
Hampshire  town? 

Milton  Sills  was  a  university  professor? 

Freeman  Wood,  now  quite  a  villain,  was  a 
New  York  architect? 

Antonio  Moreno  used  to  read  gas-meters 
:  during  summer  vacations  from  a  Massachu- 
|  setts  school? 

Reed  Howes  coached  the  Harvard  freshmen 
for  two  years? 


John  M.  Stahl  directing  Florence  Vidor  in  a  scene  for 
"Husbands  and  Lovers."  Tony  Gaudio  is  at  the  camera. 
Ji  must  be  disconcerting  when  one  goes  to  the  bathroom 
Saturday,  to  have  so  much  company. 


SCREENLAND 


of  fancy  vests  is.  said  to  be  even  more  bizarre  than  even  that  of  the  Prince 
of  Wales. 

Oh,  well!  Bert's  a  director  now,  and  engaged  to  -Claire  Windsor  so  he 
can  let  the  rest  of  the  world  go  by. 


Ruth  Clifford  recently  had  the  part  of  a  young  girl  and  an  old  ladv  in  the 
same  film.  An  elderly  lady,  accosted  her  on  the  set  and  demanded  to  know 
why  all  the  young  actresses  are  playing  old  women  parts. 

"The  old  actresses  won't  play  'em,"  said  Ruth,  "and  somebody  has  to." 

Which  goes  to  prove  there  must  be  ar. 
end  10  the  invidious  face-lifting  now  goint 
on  in  Hollywood. 



_  Nick  Grinde,  assistant  to  Alf  Goulding,  the 
director  who  made  Rupert  Hughes'  "Excuse 
■     Me,"  should  have  been  a  cameraman,  if  there 
H    is  anything  in  a  name. 


Ramon  Novarro  is  the  champion  cinema. 


Judy  King,  "pint  size 
comedienne,"  was  the 
flapper  in  "Girl  Shy," 
the  Harold  Lloyd  hit. 
The  perfect  flapper 
type,  and  going  great 
guns.  Keep  your  eye 
on  her. 


cosmopolite.  He's  a  Mex- 
ican by  birth,  of  Spanish 
and  Aztec  blood.  He  was 
a  German  in  "Zenda,"  a 
Frenchman  in  "Trifling 
Women,"  a  Polynesian  in 
"Where  the  Pavement 
Ends,"  a  Frenchman  in 
"Scaramouche,"  a  Spaniard 
in  "Thy  Name  Is  Woman," 
an  Apache  in  "The  Red 
Lily,"  an  Arab  in  "The 
Arab,"  and  now  he  is  little 
"Benneh"  of  the  House  of  Hur  in  "Ben  Hur." 

Novarro  has  traveled  more  than  one  hundred  thousand  miles  in  three 
years.  And  on  top  of  all  of.  this  he  reads  and  speaks  Spanish.  French, 
English  and  Italian,  plus  a  dash  of  Arabic. 

After  his  work  in  "Ben  Hur"  Novarro  will  head  his  own  production  unit 
for  Metro-Goldwyn-Mayer. 


The  "Maxinc"  Bob  cut  by  Alma 
Rubens  in  preparation  for  her  role 
in  "The  Dancers."  They  wanted 
her  to  look  "different"— and  she 
docs! ! 


"Hollywood  is  so  full  of  a  number  of  stars. 
I'm  sure  we  might  all  be  as  lit-up  as  Mars." 

But  another  little  star  won't  do  us  any  harm. 

Therefore  Judy  King,  erstwhile  the  Pint  Size  Comedienne,  is  introduced! 

Harold  Lloyd  is  credited  with  discovering  Judy,  but  she  avers  she 
discovered  herself.  And  it  was  quite  a  discovery,  though  she  is  but 
four  feet,  eleven. 

She  was  playing  the  "two-a-day"  when  she  decided  to  become  a  film 
personage.  So  when  Harold  Lloyd  was  looking  for  the  perfect  flapper  for 
"Girl  Shy,"  Judy  jumped  in. 

She  got  the  job. 


SCREENLAND 


71 


Lately  the  "pint,"  as  she  has  no  objection  to  being  called,  has  played  a 
bit  with  Ben  Turpin  and  was  one  of  the  "Seven  Chances,"  the  Buster 
Keaton  film. 

She  flaps  beautifully. 


Fred  Jackman  is  making  real  horse  operas  for  Hal  Roach,  starring  Rex, 
the  wild  horse,  and  he's  finding  it  a  job.  He  had  to  journey  back  to  Los 
Angeles  from  a  Nevada  desert  location  for  a  new  equine  member  of  the 
supporting  cast  when  Rex  disapproved  of  one  he  took  up  there.  Jackman 
has  spent  weeks  trying  to  make  actors  out  of  a  herd  of  real  wild  horses 
whose  habitat  is  the  desolate  region  where  Nevada,  Utah  and  Arizona  meet. 


The  sudden  death  of  Thomas  H.  Ince  is  said  to  have  nipped  his  merger 
with  William  Randolph  Hearst's  cinema  enterprises,  which  would  have 
been  one  of  the  biggest  mergers  of  the  year. 


In  "Speed,"  which  Edward  Le  Saint  is  making,  vampish  Betty  Blythe 

plays  the  part  of  a  mother  who  is  at  first  a  drab  sort  of  person  until  she 

goes  to  Paris.  And  there  she  bloomed!  Bobbed  hair,  one-bead  evening 
gown  and  other  modem  touches. 


J.  Warren  Kerrigan  was  cut  and  bruised  in  an  automobile  collision  near 
Dixon,  111. 


Lucille  Lee  Stewart,  sister  cf  Anita,  is  back  in  Hollywood  in  pictures 
after  a  six  years'  absence. 


June  Mathis  and  Rudolph  Valentino  (he's  spelling  it  with  a  "u"  now) 
have  scrapped.     She  was  to  do  the  script  for  "The  Scarlet  Power,"  and 
her  treatment  of  the  adaptation  caused  the  squabble,  it  is  said.  '  Mrs. 
;Rudolph  wrote  the  thing, 
i    June  discovered  Rudolph. 


report  that  Llenrv  Ford, 


industrial  giant,  intends  to  invade  the 
movies  has  filled  Hollywood  with  awe. 
Ford  is  said  to  be  considering  Holly- 
wood as  a  production  center  for  "two- 
bit"  movies  which  he  will  exhibit  in 
a  national  circuit  of  theaters  of  his 
own. 

"A  complete  flivver  fotoplay  in  fif- 
teen minutes"  will  no  doubt  be  the 
slogan. 

Ford,  however,  will  not  have  the 
honor  of  producing  the  first  flivver  in 


Alice  Lake  has  just  com- 
pleted "The  Fast  Pace." 


he  flicker)  world's  output.  That 
vas  done  before  a  single  Lizzie 
eaped  from  the  lathes  in  Detroit, 
fears  and  years  ago. 


Lots  of  camerads  are  traipsing  off 
)  Europe.  The  "Ben  Hur"  unit 
egan  the  wholesale  globe-trotting 
nd  the  rest  are  hurrying  after. 


Constance  Talmadge  in  one  of 
those  indescribable  feminine 
things  the  girls  "wear. 


Huntlv  Gordon  in  "Never  the  Twain  Shall  Meet"  with  Marcel  Tsauri,  Tahitian 
*»*n6tress,  as  she  instructs  him  in  Polynesian  polyglot. 


By  Marion  of 
Hollywooi 


"^VVICE  more  woman  has 
used  her  privilege.  This 
time  it's  Alice  Joyce  and 
Leatrice  Joy.  Two  months 
ago  the  call  of  home  and  babies 
was  too  strong  for  Alice,  but  she 
must  have  received  a  corking  good 
offer  from  some  company,  because 
she's  changed  her  mind  completely 
and  is  going  back  to  the  first  love 
with  bells  on  and  for  keeps. 

And  Leatrice!  Gosh,  I've  heard 
'em  rave  in  song  and  verse  of  what 
motherhood  does  for  the  rulers  of 
the  hearth,  but  I  never  really  be- 
lieved it  until  the  other  day,  when  I 
saw  Leatrice  for  the  first  time  since 
the  arrival  of  Leatrice,  Jr.  Beautiful 
is  not  the  word  for  her.  When  she 
started  telling  me  about  .the  kid.  I 
thought  her  brown  eyes  would  jump 
out  of  her  head,  and  her  two  dim- 
ples got  deeper  and  saucier  by-  the  second.  Anyway,  she's 
coming  back— two  months  ago  she  wasn't— but  it  should 
be  that  way,  because  after  seeing  her  I  wouldn't  miss  her 
first  new  picture  any  more  than  I'd  take  a  dip  in  the 
ocean  these  cold  mornings. 

They  Say — 

June  Mathis, 
with  all  of  us 
betting  on 
George  Walsh, 
slipped  away  to 
Riverside  and 
became  the 
bride  of  Syl- 
vano  Balboni, 
c  a  m  e  r  a  m  an. 
The  young 
groom  was 
sent  to  Rome 
as  a  cameraman 
with  the  "Ben 
Hur"  company 
and  met  Miss 
Mathis  ,  also 
en  route  to 
Rome,  on  the 
boat  crossing 
the  At  lantic. 
Cupid  took  the 
same  boat  and 
the  result  is 
that  June  is 
now  Mrs.  Syl- 
van o  Balboni. 

CI  Frank  Lloyd  directing  a  scene  They  do  say  out 

in     "Judgment,"  a  forthcoming  here   in  Holly- 

First  National  Picture.  .  wood    as  how 


Q  The  Kid  Her 
self.  Allcne  i?o. 
of  "Gallopins 
Hoofs."  "I'll  b 
the  goat."  say 
her  friend  Billy 


the  correct  thing  is  "Count  and  Countess  Balboni" — whic; 
is  a  happy  thought  not  given  out  as  official  information. 

Another  good  little  girl  gone  wrong — meaning  Paulini 
Frederick.  Perhaps  I  should  say  "another  good  littl 
romance  gone."  Pauline's  latest  was  pulled  up  on  th 
rocks  starting  some  time  last  September.  Pauline  ha 
kept  it  from  us  all  this  time,  too.  Charles  Rutherford 
erstwhile  husband,  couldn't  be  called  to  trial  because 
Pauline  doesn't  know  his  place  of  abode.  Now,  howevei 
the  required  three  months  of  publication  have  elapsed  am 
a  trial  may  be  set.  When  it's  a  case  of  husband  or  art.  i 
becomes  necessary  to  make  the  great  sacrifice  and  droi 
friend  husband. 

Doug  Fairbanks  jumped  onto  his  magic  carpet,  rubbe. 
the  crystal,  flew  away  to  the  land  of  the  Nabobs  an< 
brought  back  to  Doug,  Jr.,  a  nice  Christmas  present—, 
little  roadster.  (Can't  mention  the  make,  because  th 
Chrysler  people  would  get  too  much  free  publicity.)  No 
so  bad  for  a  fifteen-year-old  boy — a  car,  a  contract,  a  gii 
'n  everything.  Doug's"  a  nice  kid,  though,  and  I  hope  th 
pretty  crystal  stays  on  the  job  to  keep  him  that  way. 

They  Say — 

Madge  Bellamy,  Alice  Calhoun  and  Bull  Montana  ar 
forsaking  the  movies  for  vaudeville.  That's  pretty  nea 
heartbreaking — at  least  in  the  case  of  Bull  versus  Holly 
wood.  Bull's  got  a  great  line  and  his  heart  is  even  a 
large  as  his  ears.  Anyway,  it  takes  a  stout  heart  to  listei 
to  music  like  $750  per  week;  and  that's  what  Bull  i 
supposed  to  get  for  his  services. 

From  the  press  agent  part  of  the  Valentino  out  5t  ove 
at  the  United  Studios  comes  a  couple  of  pleas  and  ai 


72 


O  Doug  Fairbanks,  Jr.,  just  stepping  out  of  his  Christmas 
present  from.  "The  Thief  of  Bagdad,"  meaning  his 
dad,  Doug  Fairbanks,  Senior. 


interesting  bit  o,f  news.  First,  be  sure  to  under- 
stand that  Valentino's  next  production.  "Cobra," 
isn't  a  snake,  never  was  a  snake  and  never  will  be 
one.  Next,  that  Valentino  gets  up  at  five  in  the 
morning,  goes  through  various  and  strenuous  exer- 
cises until  8:30,  goes  to  work  and  keeps  doing  it 
until  7:30  in  the  evening.  Applicants  for  his  posi- 
tion form  on  the  right — he "11  change  with  anybody. 
Last,  but  by  no  means  least,  comes  the  good 
word  about  Nita  Naldi,  the  "heavy"  in  the  picture. 
Our  friend  press  agent  wants  us  to  know  that  Nita 
has  been  sticking  to  pineapple  and  lamb  chops — 
when  not  sneaking  in  a  chocolate  caramel — has  lost 
many,  many  wearisome  pounds,  and  has  thusly 
produced  a  figger  called  "svelte."  That  is  a  $4.50 
word  and  not  in  my  $3.50  dictionary. 


i 


■ 


01  Reginald  Denny  and  little  Barbara 
Denny  waiting  for  the  Hollywood 
postman  to  bring  the  daily  supply 
of  "mash"  letters. 


^7 


0[  In  company  with 
the  fish  —  Larry 
Semon,  the  come- 
dian, and  Dorothy 
Divan,  screen  ac- 
tress, who  were 
married  recently. 


w 


T^Tilliam  Randolph  Hearst  is  about  to 
discontinue  picture  producing.  He  had 
made  arrangements  with  Thomas  H.  Ince  to 
make  a  series  of  pictures  from  the  Hearst 
stories  at  the  Ince  studios,  under  Ince  super- 
vision, and  in  several  of  these  stories  Marion 
Davies  wras  to  star.  The  death  of  Ince  auto- 
matically cancelled  these  plays.  Now  it  is 
heard  that  Mr.  Hearst,  being  desirous  of  de- 
voting all  his  time  to  his  magazine  and  news- 
paper interests,  will  adhere  to  his  intention  of 
giving  up  all  film  activities,  but  will  supply 
stories  to  be  made  by  the  Metro-Goldwyn 
company  in  their  studios.  Miss  Davies  will 
be  starred  in  some  of  these  if  present  negotia- 
tions are  carried  out.  If  not.  it  is  thought 
that  the  Cosmopolitan  company  will  continue 
to  produce  the  Davies  features.  At  the  pres- 
ent time  the  next  Marion  Davies  production  is 
reported  to  be  "Polly  Preferred." 


To  wear  under  the  fur  coat  is  the  frock  of  cin- 
namon _  brown  satin  charmeuse,  its  only  orna- 
mentation Gppliqued  leaves  of  a  darker  brown 
velvet  with  veins  of  gold  thread.  The  hat  is 
brown  grosgrain,  the 
ribbon  laid  on  in 
folds. 


Photographs  by 

Henry  Freulich : 

Specially  posed 
for  SCREENLAND 
by  Miss  Daw  " 


Evening  sees  Miss  Daw  in  a 
dress  of  henna-rose  chiffon 
velvet,  becomingly  draped  to 
one  side  and  caught  there. 


$5000.00  to 


~^IVE    thousand    dollars   to    spend  on 
clothes.     Yes,  real   dollars   for  real 
clothes    to    be    worn    wherever  she 
wished  and  to  be  bought  without  first 
having  to   consider  screen   values — whether  this 
color  would  photograph  successfully  or  that  drape 
was  as  swish  as  the  screen  required. 

Marjorie  Daw  had  the  money.    But  I  had  the  thrill. 


74 


This  suit  of  Cheviot  tweed  tan  combines  s 
ness  and  utility.      The  heavy-knitted  silk 
adds  a  touch  of  gold  and  red.      The  hat  is  of 
English  cut  felt,  jaunty  and  becoming. 


mart- 
scarf 


By  Vobdah  Dextet 


And  if  you  don't  think  it's  exciting  to  stroll 
down  Fifth  Avenue  in  the  company  of  five 
thousand  dollars  that  have  no  other  object  in  life 
than  to  adorn  an  exquisite  woman,  you  must  be 
either  a  millionairess  or  a  mannequin.    We  entered 
Madame  Gottlieb's;  we         {Continued  on  Page  7S) 


Black  crepe,  with  heavily 
beaded  little  Chinese  figures 
running  riot  over  it  in  golds 
and  greens,  lias  a  distinction 
all  its  own. 


inner  of  SCREENLAND 


Mae  Murray  selects  Winning  Slogan 


GIMae  Murray  the 
provocative. 


$500.00  awarded  for  a  slogan  for  "dree, 
the  Enchantress"  is  won  by  Atlanta  girl 


^  LOGAN  writers  competing  for  the  $500  prize  offered  by  Mae  Murray  for  a  slogan  to 
be  used  to  advertise  her  recent  remarkable  Metro-Goldwyn  production,  "Circe,  the 
Enchantress,"  gave  the  contest  committee  a  very  difficult  problem  in  selecting  the 
fortunate  winner. 

The  judges  for  this  interesting  contest,  which  drew  more  than  five  thousand  answers  from 
readers  of  Screenland  Magazine,  were  Miss  Murray  herself  and  Mr.  J.  E.  D.  Meador 
Director  of  Publicity  for  the  Metro-Goldwyn  company. 

It  was  a  simple  four  word  slogan,  suggested  by  a  little  Southern  girl,  that 
won  the  five  hundred  dollars. 

LOVE  BREAKS  THE  SPELL. 

Those  were  the  magic  words  that  turned  into  gold  for  Miss  Frances  Riddle 
of  No.  384  Spring  Street,  Atlanta,  Georgia. 
Think  of  it ! 

Each  word  worth  $125! 

In  making  the  choice  of  the  winner  Miss  Murray  and  Mr.  Meador  applied 
this  formula  test  to  each  of  the  slogans  submitted  by  ambitious  Screenland 
readers : 

First:    The  slogan  must  be  the  truth.    Words  are  only  of  carrying  power 


(\A  glimpse  of  the  most  grace- 
ful figure  on  the  screen. 
Mae  Murray  as  "The  Merry 
Widow." 


(\Circe  gives  a  ivild  party. 


(\The     despair    of  un- 
happy love. 


76 


ONTEST  Jl  EC  ELVES  PRIZE 


The 

Winning  Slogan 

Submitted  by 

Miss  FRANCES  RIDDLE 

384  Spring  Street 
ATLANTA,  GAJ 

LOVE  BREAKS 
THE  SPELL 


Q.A  characteristic  Murray  pose. 
A  little  arrogance,  a  great 
deal  of  style,  gives  a  "sassy" 
result. 


when"  they  speed  from  the  bow  of  fact. 

Second:  The  slogan  must  have  freshness 
and  unusual  quality. 

Third:  Does  the  slogan  in  question  seem 
to  be  a  word  picture  of  this  film? 

In  all  these  particulars  the  catchword, 
I  "Love  Breaks  the  Spell."  was  applied  to  the 
production  ''Circe,  the  Enchantress,''  and  was 
found  most  adaptable. 


Q.Mae  Murray  has  an  appcalin// 
child-like  simplicity,  which  is 
captivating. 


Q.Mae  on  the  golf 
course  inhere  her 
dancing  'feet 
show  a  perfect 
stance. 


Q.Mae  her  golj 
game  over, 
this  contest 
decided  and 
trunks  full  of 
new  clothes, 
takes  the  train 
back  to  Holly- 
wood. 


(\Miss  Frances 
Riddle,  win- 
ner of  the 
slogan  prize. 


78 


SCREEN  LAND 


See  Saw,  Marjorie  Daw — continued  from 


owned  the  place — at  least  I  did,  and  for 
the  moment  believed  the  money  was  mine. 
We  looked  on  floating  things,  which  is 
the  way  of  Gottlieb's:  a  gorgeous  fantasy 
of  creations  that  beckoned  and  whispered 
in  passing  and  trailed  an  incense  behind 
them. 

"I'd  love  that,"  Miss  Daw  murmured, 
her  eyes  upon  the  most  delightful  velvet 
and  chinchilla  wrap.  The  price  was — no, 
it  can't  be  mentioned.  Five  thousand 
dollars  scarcely  seemed  as  important  as 
a  few  minutes  before. 

From  Miss  Daw's  purchases  we  mutu- 
ally selected  these  for  "Screenland's" 
reproduction. 

A  suit  of  Cheviot  tweed  -tan  with  an 
invisible  check  of  green  running  through 
it,  combines  smartness  and  utility.  The 
heavy-knitted  silk  scarf  is  of  the  predom- 
inating colors  of  the  suit  and  adds  a  gold 


and  red  stripe  for  good  measure.  The 
hat  is  of  English  cut-felt — jaunty  and 
becoming. 

To  wear  under  the  fur  coat  is  the 
frock  of  cinnamon  brown  satin  charm- 
euse,  giving  the  tunic  effect,  its  only  or- 
namentation appliqued  leaves  of  a  darker 
brown  velvet  with  veins  of  gold  thread. 
The  collar  ends  at  the  hem  in  two  silken 
tassels. 

To  wear  with  this  frock  Miss  Daw 
has  a  tight-fitting  hat  of  brown  grosgrain, 
the  ribbon  laid  on  in  folds  and  ending 
in  an  arrangement  of  loops  at  one  side. 

Black  crepe  is  always  correct  for  res- 
taurant wear,  but  when  it  has  heavily 
beaded  little  Chinese  figures  running  riot 
over  it  in  golds  and  green,  it  has  a  dis- 
tinction all  its  own.  Two  gold  beaded 
strands  relieve  an  otherwise  plain  top 
and  the  scarf  of  green  satin  and  gold 


page  75 

lace  with  ostrich  feather  ends  strikes  a 
new  and  charming  note. 

Evening  sees  Miss  Daw  in  a  dress  of 
henna-rose  chiffon  velvet,  becomingly 
draped  to  one  side  and  caught  there  by 
a  thickly  embroidered  flower  in  varying 
shades  of  henna  and  rose,  with  a  centre 
of  cut  steel  beads.  Similar  flowers  or- 
nament the  left  from  waist  to  hem  and 
bands  of  rhinestone  serve  as  shoulder- 
straps.  Gold  stockings  and  shoes  with 
buckles  of  rhinestones  are  fitting  acces- 
sories and  again  a  scarf  is  worn,  em- 
broidered to  match  the  dress. 

But  quite  the  most  elaborate  thing  in 
this  five  thousand  dollar  wardrobe  is  the 
evening  wrap  o,f  silver  brocade  luxuriously 
banded  in  black  fox  and  lined  with  rose 
satin  and  chiffon.  It's  worth  (the  hole  it 
made  in  Marjorie's  money. 


Out  of  the  Crowd — continued  from  page  30 


until  now  her  name  is  very  well  known. 
But  it  was  Mr.  Chance  in  the  form  of 
an  assistant  director  who  gave  her  her 
start.  And  who  is  this  young  lady? 
Pretty  little  Norma  Shearer,  whom 
you've  seen.  I  hope,  in  "He  Who  Gets 
Slapped.'' 

So  though  you  have  often  seen 
statements  to  the  effect  that  D.  W. 
Griffith  has  made  a  new  star  or  Rex 
Ingram  has  found  another  Valentino, 
such  is  not  always  the  case.  Many,  I 
might  say  the  majority,  have  had  their 
start  towards  the  Land  of  Fame  through 
the  little  fellow  around  the  studio — the 
assistant  director,  the  second  assistant, 
the  property  man  and  the  fellow  actor. 
And  while  the  director  finally  chooses 
them  and  under  his  direction  makes 
them  famous,  it  is  the  little  fellow  so 
often  who  gives  them  the  chance  and 
brings  them  to  the  attention  of  the 
director. 

And  this  applies  to  each  of  us. 

So  no  matter  how  unimportant  a  per- 
son may  seem  in  your  eyes,  it  may  be 
the  Mr.  Chance  for  whom  you  have 
been  looking  and  you  do  not  recognize 
him  in  his  disguise. 

Mr.  Chance  even  played  his  part  at 
one  time  'neath  the  guise  of  the  office 
boy.  A  beautiful  young  girl  arrived  one 
morning  at  the  old  Kalem  Studio,  where 
Alice  Joyce  was  beginning  her  career. 
Miss  Joyce  was  talking  with  Arthur 
Donaldson,  the  now  well-known  charac- 
ter actor.  He  and  Miss  Joyce  were  just 
starting  their  own  way  towards  the 
heights  which  they  have  reached.  Ar- 
thur Donaldson  will  be  remembered  as 
George  III.  in  Griffith's  "America."  But 
at  the  time  of  which  I  write  they  were 
both  unknown  to  the  vast  picture  audi- 


ence. The  office  boy  came  into  the 
studio  to  tell  the  director  there  was  a 
girl  outside  looking  for  work.  He 
stopped  by  Miss  Joyce  and  Arthur  Don- 
aldson and  raved  about  the  beautiful 
girl  outside.  "Gee  whiz,  but  she's  a 
beauty,"  said  he.  They  caught  some- 
thing of  his  enthusiasm  and  went  out 
to  see  her — and  with  them  strolled  Mr. 
Chance.  They  recognized  in  the  girl 
more  than  beauty — a  wonderful  person- 
ality— and  they  talked  the  director  into 
giving  her  an  opportunity  to  make  good. 
Which  she  certainly  has.  Anna  Q. 
Nilsson. 

And  does  Mr.  Chance  only  stroll 
around  the  studio  in  different  makeups? 
No,  indeed.  He  is  often  found  far  from 
the  studio.  In  the  agent's  office.  The 
agent  who  engages  people  and  types  for 
the  big  crowd  scenes.  He  finds  and 
supplies  the  director  with  every  possible 
human  being  from  any  walk  in  life — 
ordinary  crowds,  Indians,  Arabs,  China- 
men, Negroes,  ballroom  dancers,  acro- 
bats, knife  throwers,  babies,  in  short, 
anything  at  all.  And  he  often  assists  in 
the  casting  of  the  players  in  a  picture 
production,  or  obtaining  the  services  of 
some  specially  well-known  star  for  a 
certain  part. 

In  Charles  Walton's  office,  245  West 
Forty-seventh  street,  New  York  City, 
one  of  the  best  known  picture  agencies 
in  the  East,  sat  Mr.  Chance  one  day 
when  a  pretty  little  girl  walked  in.  She 
had  been  struggling  and  struggling  to 
gain  a  foothold  upon  the  bottom  rung 
of  the  movie  ladder,  but  without  suc- 
cess. And  her  friend  and  encourager. 
Miss  Hope,  seemed  far  away. 

Mr.  Edwin  Carewe,  the  director,  was 
about  to  produce  "Mighty  Lak  a  Rose" 


and  had  asked  Walton  to  try  to  obtain 
the  services  of  Lillian  Gish  for  the  lead- 
ing role.  But  Miss  Gish  was  not 
available. 

Something  in  the  little  girl's  story  and 
the  fact  that  she  was  trying  so  hard 
appealed  to  Mr.  Walton  that  day  she 
walked  into  his  office,  and  he  told  her  he 
would  do  his  best  to  find  something  for 
her.  At  any  rate,  when  Mr.  Walton  saw 
Edwin  Carewe  and  informed  him  that 
Lillian  Gish  was  under  contract  and  not 
available  he  added  that  he  knew  of  a 
girl  who  might  be  suitable  for  the  part. 
Who  was  she?  An  unknown.  Well,  it's 
a  long  cry  from  Lillian  Gish  to  an 
unknown,  and  Mr.  Carewe  did  not  feel 
that  he  could  take  the  risk  of  having 
an  unknown  girl  play  the  leading  role  in 
his  forthcoming  production.  But  Mr.' 
Chance,  behind  Charles  Walton,  urged 
him  to  have  faith  in  the  girl  and  argue 
in  her  behalf.  Which  he  did,  and  finally- 
persuaded  Mr.  Carewe  to  try  the  girl 
and  see  for  himself.  She  was  given  the! 
part,  her  success  was  instantaneous,  and; 
she  has  made  rapid  strides  ever  since. 
But  no  one  knew  except  Mr.  Chance  (in 
the  guise  of  the  agent)  that  little  Dor- 
othy Mackail  had  been  chosen  that 
morning  by  him  to  be  one  of  the  favored 
and  started  upon  the  road  to  fame. 

And  so  it  is.  We  never  know  upon 
what  road  or  in  what  guise  we  may  meet 
our  benefactor,  Mr.  Chance,  but  meet 
him  we  will  in  some  form  or  other  from 
the  ragged  street  urchin  to  the  Presi- 
dent. And  with  Miss  Hope  ever  beside 
us  to  help  us  to  recognize  him  when  we 
do  meet,  and  with  the  firm  of  Work  and' 
Sweat  to  aid  us,  we  can  each  and  even' 
one  of  us  some  day  get  on  the  road  that 
leads  to  the  Land  of  Fame. 


SCREENLAND 


79 


Betty  Remembers — continued  from  page  29 


blotted  out  the  hovering  luck-shadow 
vvhen  Alan  Holubar's  death  lost  Betty  a 
part  that  had  been  greatly  counted  on. 
|But  California  sunshine  is  noted  for  cast- 
ing luck-shadows,  and  forcing  them  to 
*row.  Especially  when  coming  events 
^.re  also  casting  their  shadows  before. 
For  filmdom  was  beginning  to  grow  dark 
with  suspense  as  to  who  would  get  the 
;oveted  Peter  Pan  part. 

Hearing  the  rumors  Betty  got  Barrie's 
book  from  the  library  and  pranced  up 
and  down  the  room.  "Don't  you  think 
[  could  play  Peter  Pan?"  she  asked  the 
grandmother  audience.  "Of  course." 
:ame  back  the  answer.  "You  can  do 
mything  you  make  up  your  mind  to  do." 

Willing  to  try  anything,  Betty  volun- 
eered  to  have  some  screen  tests  for  the 
)art.  Then,  expecting  nothing,  she  con- 
inued  her  lonesome  way.  For  no  one 
in  choosy  Hollywood  had  chosen  to  be 
^specially  nice  to  Betty,  although  there 
jvere  several  there  who  had  known  her 
through  her  few  "bits"  in  pictures.  So 
t  became  indeed  very  lonesome  for  these 
(wo  strangers  in  this  strange  land. 

It  seemed- nice  to  have  a  speaking  ac- 
quaintance with  Carol  Warren,  who  had 

room  in  the  same  house.  She  was  a 
cenario  writer  for  Robertson-Cole  and 
vas  taking  her  meals  at  the  Hollywood 
'tudio  Club  directly  across  the  street. 
I  For  those  who  dq  not  know  their 
lollywood  it  might  be  well  to  explain 
jhat  this  so-called  club  is  an  anchorage 
or  girls  who  are  trying  to  get  a  start  in 


pictures,  but  who  are  not  able  to  pay 
excessive  living  rates.  And  this  roomy 
old  mansion  provides  a  comfortable  and 
inexpensive  home.  The  very  fact  of  liv- 
ing there  stamps  a  girl  as  having  the 
right  sort  of  ambitions. 

Carol  Warren  was  on  the  waiting  list 
to  become  a  regular  at  the  Studio  Club. 
And  every  day  she  would  tell  Miss  Mar- 
jorie  Williams,  director  of  the  club,  about 
the  wonderful  little  girl  with  the  beau- 
tiful old-fashioned  curls  and  the  refresh- 
ing smile. 

"I  have  a  hunch  that  this  Betty  Bron- 
son  is  going  to  make  good,"  was  Carol's 
frequent  prediction.  (Other  discoverers 
please  take  note.)  "Don't  you  think  it 
would  be  nice  to  have  them  over  to  the 
club  for  Thanksgiving,  they  seem  so  lone- 
some and  they  haven't  a  single  place  to 
go?" 

Miss  Williams  agreed,  the  invitation 
was  extended,  and  marked  the  beginning 
of  many  evenings  the  hitherto  unbe- 
friended  Betty  spent  under  the  hospitable 
club  roof.  In  fact  Betty  herself  told 
me  just  the  other  day  that  the  evenings 
she  spent  at  the  Studio  Club"  were  the 
very  bright  spots  of  her  uncertain  wait- 
ing time.  Until  the  fateful  day  last  Sep- 
tember that  she  was  discovered  as  exactly 
fitting  Peter  Pan's  shadow. 

Now,  of  course,  things  are  vastly  dif- 
ferent. From  gateman  to  director,  hats 
are  tipped  and  right  of  way  given  "Miss 
Bronson."     Which  has  caused  many  to 


predict  that  success  will  make  her  up- 
stage and  that  she  won't  care  to  see  her 
first  friends  now. 

So  I  determined  to  find  out  by  arrang- 
ing a  meeting  with  Betty  and  some  of 
her  former  friends.  And  I  wish  you  could 
have  been  there  to  see  for  yourself! 

It  was  at  the  Paramount  studio,  and 
Betty  walked  in  with  a  smile  encompass- 
ing enough  for  the  universe.  Two  hands 
and  arms  added  first  aid  to  a  most  af- 
fectionate greeting,  which  quickly  proved 
Betty's  allegiance  to  old  friends. 

"It  seems  to  me,"  she  said  quite  seri- 
ously. "That  girls  who  come  here  to 
succeed  ought  to  keep  on  doing  just  as 
their  home  folks  have  done.  Not  try  to 
do  things  the  old-timers  here  say  they 
should  do.  Then  they  would  keep  their 
individuality.  But  most  of  the  girls  do 
things  just  because  they  see  others  do 
them.  And  so  they  get  to  be  very  much 
alike." 

Which  is  a  new  way  of  arriving  at  an 
old  conclusion.  Being  an  answer  worthy 
of  consideration  from  more  mature  folks 
than  Peter  Pan,  who  was  never  intended 
to  grow  up.  •  . 

It  also  reminded  me  of  the  time  I 
heard  Betty's  mother  say,  "I  am  cer- 
tainly thankful  that  I  have  an  old-fash- 
ioned daughter." 

Facts  which  the  sharp-eared  Goddess 
of  Luck  might  have  heard  when  she  was 
looking  for  the  right  one  to  fit  exactly 
Peter  Pan's  shadow  for  the  shadowland 
of  the  world. 


i  \ 


The  Secret  of  Corinne  Griffith's  Charm — continued  from  page  27 


She  was  a  phantom  of  delight 
/hen  first  she  gleamed  upon  my  sight 

lovely  apparition,  sent 
to.  be  a  moment's  ornament," 
nd  under  his  breath  adds,  "William 
■/ordsworth,  1770-1850." 

Throwing    away    his    cigarette,  and 
afjjfushing  back  his  luxuriant  false  whis- 
kers, the  heavy  father  comes  back  at 
|m  thus : 


"The 


light    of   love,    the    purity  of 
grace, 

The  mind,  the  music  breathing  from 
her  face, 

The  heart  whose  softness  harmonized 
the  whole, 
sjl1  And  oh,  that  eye  was  in  itself  a  soul ! 
Lord  Byron,  The  Bride  of  Abydos." 
And  the  extra  people  whisper  in  chorus, 
"A  lovely  lady,  garmented  in  light 


From  her  own  beauty." 
Percy  Bysshe  Shelley  1792-1822" 

Well  maybe  they  don't  say  all  those 
things  out  loud — but  anyhow  the  Dic- 
tionary of  Familiar  Quotations  in  the 
scenario  department  is  worn  and  thumb 
marked.  What  on  earth  are  the  inspired 
words  of  the  poets  for,  if  not  to  flit 
through  the  mind  when  we  are  confront- 
ed by  supreme  beauty? 

The  men  certainly  think  those  lines 
when  Corinne  comes  on  the  lot. 

For  she  commands  their  admiration, 
she  could  have  their  love  and  best  of  all 
she  has  their  respect.  Even  in  Holly- 
wood parties,  nobody  slaps  her  on  the 
back  and  calls  her  a  "good  sport." 

Corinne  Griffith  is  no  flapper.  No, 
with  all  the  chances  she  has  had  to  learn 
the  wild  ways  of  Movieland,  she  remains 


gentle,  unaggressive,  soft-spoken,  well 
bred — in  short,  a  lady. 

While,  flappers  to  the  right  of  her, 
flappers  to  the  left  of  her,  flappers  in 
front  of  her  frolicked  and  blundered,  she 
kept  right  on  being  herself. 

And  men  fall  for  the  charm  of  Corinne. 

Wherever  she  flickers  across  the  screen, 
on  blase  Broadway,  in  the  lumber  camps, 
in  war-wearj'  Europe  or  red-blooded 
Alaska,  men  go  wild  over  her  personal- 
ity. 

If  her  casualty  list  were  printed,  it 
would  fill  the  entire  magazine  for  a  year. 
Why  do  they  all  rave  about  her? 
Why  do  they? 

She  is  beautiful.  Of  course.  Even 
her  dearest  girl  friends  admit  it. 

But  then  beauty  on  the  screen  is  not 
rare.  The  studios  are  beseiged  by  per- 
sistent thousands  of  beautiful  girls.  Some 


so 


SCREEN  LAND 


Mary?  I  Owe 
All  to 


99 


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"And  to  think,  Mary,  I  owe  it  all  to 
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stay  outside.  Beauties  too.  Some  get 
in  the  films.  Some  get  their  photographs 
in  the  magazines.    Become  stars! 

And  they  are,  most  of  them  at  least, 
just  "one  more  screen  beauty." 

But  not  Corinne.  Corinne  Griffith  is 
unique. 

Without  asking  for  attention  she  gets 
it.  The  spotlight  just  naturally  follows 
her  around.    Things  are  handed  to  her. 

It  happened  that  way  when  she  first 
went  to  the  coast,  unknown  to  fame  or 
film  folk.  She  had  been  invited  to  a 
party  and  she  danced  with  all  the  delight 
that  a  young  girl  expresses  in  the 
rhythmic  movements  of  her  lovely  body. 
Her  cheeks  glowed  with  the  thrill  of 
dancing;  her  eyes  shone,  and  perhaps 
there  was  just  a  little  wistful  expression 
n  them  because  such  perfect  moments 
could  not  endure  forever. 

And,  as  the  dance  ended,  some  people 
she  never  saw  before,  approached  with 
great  ceremony  and  handed  her  a  per- 
fectly ducky  silver  loving-cup.  It  was 
the  beauty  prize. 

She  had  not  known  that  there  was  a 
beauty  contest. 

She  was  simply  being  herself.  And 
so,  quite  naturally,  the  prize  for  beauty 
went  to  the  little  stranger  from  New 
Orleans. 

The  next  day  she  was  offered  a  screen 
contract. 

There  was  no  nagging  and  vamping  of 
casting  directors,  no  trudging  from  studio 
to  studio.  No  heart  breaking  suspense 
leaving  one'-  address  and  waiting  for  a 
call. 

Success  was  just  handed  to  her. 

Of  course  that  does  not  mean  that  she 
did  not  work  to  perfect  herself  in  her 
art.  She  is  gifted.  Her  early  work  with 
the  brush  shows  that  she  might  have  won 
laurels  as  a  painter.  Being  a  great  artist 
as  well  as  a  beautiful  girl,  she  had  the 
impulse  to  master  the  technique  of  the 
screen.  And  that  means  work.  Hard 
work  and  brains. 

But  she  was  lucky  enough  not  to  have 
to  waste  her  strength  and  fray  her  nerves 
to  tatters  in  getting  an  opportunity. 

That  was  handed  to  her,  like  the 
beauty  prize. 

But  was  it  luck? 

Was  it  something  'that  no  other  girl 
can  hope  for? 
Not  at  all. 

It's  not  a  secret.  It's  only  an  age-old 
feminine  quality  that  our  grandmothers 
knew  well. 

They  belonged  to  a  generation  when 
women  were  not  go-getters. 

Neither  were  they  gold  diggers. 

They  were  not  "pals,"  not  "good  mix- 
ers," and  their  figures  were  not  boyish. 
They  were  feminine  through  and  tlhrougn. 
They  saw  to  that. 

Demurely  they  went  to  church  on  Sun- 
day and  when  they  heard  the  preacher 


read  from  the  Good  Book,  "Male  and 
female  created  He  them,"  they  felt  that 
they  had  something  to  think  about  all 
week. 

They  gloried  m  the  fact  that  men  and 
women  were  created  different. 

Their  clothes  emphasized  that  interest- 
ing fact:  wide  flounces  and  costly  foolish 
fluffy  things.  No  sensible  sports  costume, 
riding  breeches  or  knickers  for  those 
wise,  wise  maidens. 

They  did  not  want  equality. 

What  they  were  after  was  woman'; 
rights. 

Woman's  right  to  be  adored.  Shields, 
and  handed  things. 

Not  the  right  of  fighting  for  stand 
iiig  room  in  the  subway  and  pounding  si 
typewriter  all  day  in  the  office.  Ther 
fighting  for  standing  room  in  the  subwaj 
with  a  lot  of  men. 

Wise,  wise  maidens  of  our  grand 
mother's  day! 

They  had  things  handed  to  them. 

Men  gave  them  seats. 

Men  thanked  them  for  accepting. 

Men  still  do  that  in  the  "backward 
southern  states. 

Well,  Corinne  Griffith  is  a  daughter  o 
the  old,  old  south.  Her  childhood  mem 
ories  are  all  of  dim,  stately  rooms  in 
Colonial  mansion,  with  stiff,  gate-legge 
tables,  highboys  and  dusky  portraits  o 
the  walls.  "Remember  you  are  a  lady 
was  the  phrase  she  heard  again  and  agai 
as  a  child.    She  never  forgot  it. 

She  was  educated  in  a  convent,  a 
the  graces  of  an  earlier 
taught  within  those  quiet 
gentle  black-robed  sisters. 

She  learned  to  speak  in  a  low  unhu> 
ried  voice.  It  is  like  soft  music  in  th 
staccato  age,  that  honeyed  drawl  of  Ne 
Orleans. 

She  learned  the  value  of  the  wonderfi 
poise  that  is  her  natural  heritage,  tl 
quiet  dignity  that  marks  the  gentlewomai 
How  it  impresses  one  in  a  country  whei 
"step  lively"  is  the  slogan! 

She  learned  the  expressiveness  that 
in  a  woman's  lovely  hand.  The  taperir 
fingers  that  can  cling  with  love  or  wa' 
a  fan  with  dangerous  languor.  One  lool| 
at  those  hands  as  delicate  instrumen 
for  recording  the  subtle  moods  of  h 
soul,  not  as  capable  tools  for  doii 
workaday  tasks.  In  this  age  of  efficienc 
it  is  a  delight  to  see  hands  that  are  pure 
decorative. 

Such  hands  are  sung  by  the  poet 
"The  white  wonder  of  dear  Julie- 
hand!"  exclaims  the  world's  best  knov 
lover,  and  lets  it  go  at  that.  He  do 
not  add  a  word  about  how  deftly  tho 
hands  can  flip  a  flap  jack,  darn  a  sock 
spank  a  baby. 

They  were  good  to  look  at  and  th 
was  plenty  for  Romeo. 

There  is  another  secret  of  Corin 
Griffith's  charm.  She  can  look  so  pi 
fectly  helpless  in  this  complicated  civil 


day  are  sti 
walls  by  th 


SCREENLAND 


SI 


Watch  Harold  Lloyd,  the 
famous  Pathe  star,  in  his  great 
picture  "Hot  Water."  How 
"crazy"  he  seems !  Far  from 
it !  In  private  life  and  in  his 
preparation  for  his  successes  he 
is  one  of  the  best-read  young 
men  in  America. 


What  makes 

HAROLD  LLOYD 

stand  out  from  the  crowd? 


Just  a  few  of  the  ar- 
tists who  own  Dr. 
Eliot's  Five-F  o  o  t 
Shelf  of  Books  : 

June  Mathis 
Claire  Windsor 
.  Wanda  Hawley 
Harold  Lloyd 
"Hoot''  Gibson 
May  McAvoy 
Henry  B.  Walthal 
Conrad  Nagel 
Rudolph  Valentino 
Constance  Talmadge 
Helen  Ferguson 
Richard  Dix 
Mary  Miles  Minter 
Ralph  Graves 
.  Claire  West 
Johnny  Walker 
Clara  Kimball  Young 
William  Desmond 
Myrtle  Stedman 
W.  F.  Russell 


SEE  HAROLD  LLOYD  in  one 
of   his   big,    wholesome,  side- 
splitting comedies,  and  you  will  say: 

"Thousands  of  young  men  had  as  good  a 
chance  as  he  had.  How  has  he  become 
America's  favorite?    What  is  his  secret?" 

You  will  find  the  answer  when  you  know 
what  Harold  Lloyd  does  in  his  spare  time. 
Visit  him  and  look  at  the  books  he  reads. 

In  his  private  library,  for  one  thing,  is 
Dr.  Eliot's  Five-Foot  Shelf  of  Books  (The 
Harvard  Classics). 

Books  of  this  kind,  wisely  selected,  have 
made  Lloyd's  mind  as  agile  as  his  body. 

Take  stars  like  Rudolph  Valentino,  Con- 
stance Talmadge,  May  McAvoy,  Clara  Kim- 
ball Young.  Was  it  by  accident  that  they 
reached  the  heights  they  now  occupy?  What 
makes  them  stand  out  from  the  crowd? 

The  secret  is  this — they  have  spent  their 
spare  time  in  making  themselves  interesting- 
people.  In  their  libraries,  too,  you  will  find 
Dr.  Eliot's  Five-Foot  Shelf  of  Books. 

And  they  are  only  a  few  of  the  screen 
favorites  who  have  discovered  this  great 
secret  of  personality.  Glance  through  the 
names  at  the  left — a  score  of  them! 

Why  not  decide  today  to  profit  from  vour 
'  reading  hours  ?  Why  not  say  :  "From  now 
on  I  will  give  my  mind  a  fair  chance  to 
grow.  I  will  read  only  the  books  that  will 
build  me  into  a  successful  man  or  woman — 
the  books  that  have  proved  their  building 
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You  can  do  it  if  you  will.  Your  reading 
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called  "Fifteen  Minutes  a  Day"  and  it  tells 
the  whole  story  of 

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FIVE-FOOT  SHELF 
OF  BOOKS 

the  most  famous  collection  of  literature  in 
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Let  us  send  you  a  complimentary  copy  of 
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"For  me,"  wrote  one  man  who  had  sent  in 
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rMr.  , 

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ation  that  the  big  muscled  male  just 
craves  to  do  things  for  her. 

Corinne  is  not  the  first  to  use  this  little 
dodge.  It  is  only  in  the  present  gener- 
ation that  girls  have  begun  to  forget  it. 

One  of  the  earliest  examples  is  the  sad 
case  of  a  young  man  who  carried  a  set 
of  biceps  that  resemble  the  ads.  of  a 
physical  culture  mail  order  school.  He 
carted  around  a  club  the  size  of  a  hitch- 
ing post,  as  this  was  some  centuries  be- 
fore Henry  Ford's  discovery  of  the  fliv- 
ver, hence  known  as  The  Golden  Age. 
Well,  this  husky  was  a  foreigner  and 
rather  undeveloped  from  the  shoulders- 
up,  but  they  were  some  shoulders. 

Everybody  called  him  Hercules  because 
he  was  so  big  and  strong.  Lions,  snakes, 
dragons  and  even  the  fighting  ladies 
known  as  Amazons  took  the  count  from 
this  Greek  heavyweight  until  he  thought 
nothing  on  God's  green  footstool  could 
lick  him. 

Then  he  went  up  against  a  certain  de- 
mure little  lady  who  sat  by  her  spinning 
wheel  all  day.  She  did  this  because  there 
is  nothing  that  shows  off  the  charm  of  a 
real  old-fashioned  girl  like  a  spinning 
wheel. 

Her  name  was  Omphale. 
Like  Corinne  this  Omphale  had  soft 
brown-blond  hair  and  large  wistful  blue 

eyes. 

When  the  yarn  got  tangled,  her  eyes 
would  fill  with  big  tears  that  hung  on  her 
lashes  like  dew  drops  on  a  moss  rose. 
Omphale  would  have  screened  wonderful- 
ly, for  she  was  just  Corinne's  type. 

Well,  as  I  was  saying,  Kid  Hercules 
strolled  by  one  day,  jauntily  twirling  his 
eighty-four  po*und  club  and  swinging  his 
lion  skin  for  all  the  ladies  to  look  at. 

At  just  the  right  moment,  Omphale  al- 
lowed her  yarn  to  get  twisted  and  the 
spinning  wheel  stopped  humming  and 
made  a  noise  like  engine  trouble. 

"Oh  dear,  oh  dear!  What  shall  I  do?'* 
cried  Omphale  and  two  large  tears  ap- 
peared in  those  wistful  eyes. 

K.  O.  Hercules  gave  the  little  lady  the 
once  over,  thought  he  would  take  a 
chance,  and  edged  over  in  that  direc- 
tion. 

"What  seems  to  be  the  trouble,  lady?" 
he  asked  in  a  voice  that  sounded  like  fog 
horns  on  a  November  night.  "Kin  I  be 
of  service,  Miss?" 

"I'm  sure  I  don't  know  what's  hap- 
pened," she  answered  shyly.  "Some- 
thing's gone  wrong  with  the  carburetor, 
or  maybe  it's  the  ignition. — I  just  don't 
know  the  least  little  thing  about  machin- 
ery." 

"Leave  it  to  me.  Machinery's  me 
middle  name,"  replied  the  stranger.  "I'll 
fix  it  fer  yuh." 

In  less  than  no  time  the  Pride  of  Hel- 
las Kitchen  was  on  his  back  tinkering 
with  the  insides  of  that  spinning  wheel. 


and  twisting  up  monkey  wrenches  like 
so  many  strands  of  spaghetti  as  he  tight 
ened  the  nuts. 

"My  goodness,  how  strong  you  are! 
cried  Omphale,  adding  another  snarl  t< 
the  yarn  to  keep  things  balled  up. 

As  the  heavyweight  tossed  aside  hi; 
lion  skin,  the  lady  picked  it  up.  Care 
lessly  she  draped  it  over  her  own  lib 
shoulders,  for  she  had  always  admirec 
that  sort  of  fur. 

When  Hercules  wiped  the  Zerolene  ou 
of  his  eye  and  saw  her  dainty  form  en 
veloped  in  his  trophy,  he  was  down  fo 
the  count,  though  the  poor  lad  didn' 
know  it. 

"D'yuh  like  that  there  lion  skin?"  h 
grinned.    "It  looks  swell  on  yuh." 

"Do  I?    It's  adorable." 

"Keep  it.    It's  yours." 

"Oh  but  I  couldn't  think  of  acceptin 
it.    It's  too — too  wonderful." 

"If  you  don't  keep  it,  I'll  go  an'  jum 
off  the  dock,"  replied  the  hero. 

And  so  to  save  his  life,  the  lady  cor 
tinued  to  wear  the  lion  skin,  and  Hei 
cules  laid  aside  his  wrench  to  tell  he 
how  he  had  killed  the  monster  with  hi 
bare  hands. 

All  through  that  golden,  sunny  aftei 
noon,  the  champion  bruiser  of  the  Isle 
of  Greece  helped  Omphale  untangle  he 
yarn,  and  in  return  she  taught  him  ho- 
to  spin. 

She  told  him  that  she  never  dreame 
that  a  man  with  such  big  strong  hand 
capable  of  strangling  Nubian  lions,  coul 
be  so  clever  with  his  fingers. 

She  told  him  that  he  was  simply  woi 
derful! 

His  friends  breezed  in  just  as  Husk 
Here,  as  they  called  him,  was  makir 
that  old  spinning  wheel  purr. 

"Get  onto  that!"  they  shouted.  "Tl 
dame's  certainly  got  him  goin'!"  and  fro 
then  on  the  boys  never  stopped  kiddii 
him  about  how  he  fell  for  that  ange 
face  doll. 

In  fact  the  story  was  so  rich  that 
has  lasted  several  thousand  years  and 
still  going  strong. 

The  reason  is  that  it  is  happening  ; 
over  again  today,  right  now,  in  your  oy 
home  town,  and  it  is  the  helpless  lookii 
little  girls  with  wide,  appealing  eyes  li 
Corinne  Griffith's  who  are  getting  aw: 
with  it. 

So  girls,  if  Nature  didn't  intend  you 
be  a  flapper,  don't  worry. 
Just  be  yourself. 

Even  though  boyish  bobs  are  in  a 
hips  aren't  being  worn  this  year,  go  rig 
on  being  a  real  girl. 

The  flapper  comes  with  the  fashi 
quarterlies,  and  sooner  or  later  she 
go,  but  the  feminine  allure  will  go 
forever. 

That  is  the  secret  of  Corinne  Grifnt 
charm;  men  dream  of  Ideal  Womanho 
when  they  look  into  her  eyes. 


SCREENLAND 


How  I  found  a  Short-  Cut 
to  Popularity 


When  they  called  me  a  back  number 
something  within  me  rebelled.  My 
pride,  perhaps.  Then  it  dawned  upon 
me!  At  first  I  didn  t  believe  that  any- 
one could  become  popular  quickly. 
And  yet  —  here's  what  happened. 
By  a  Former  Wallflower 


I 


NEVER   was   much   of  a 
dancer.    But  when  our  club 
gave    a    dance,    I  couldn't 
I  very  well  stay  away.  Besides 
how  could  I  ever  learn  to  dance 
if  I  didn't  get  some  experience? 
i    I  discovered,  though,  that  no 
one  wanted  to  dance  with  me. 
The  boys  knew  I  was  a  poor 
,  I  dancer   and    they   warned  the 
Igirls  to  keep  away  from  me. 
rjirri?"  I  heard  one  of  the  boys 
bay.    "Oh,  Jim's  all  right,  but 
jhe  doesn't  know  a  waltz  from  a 
fox-trot."     The   girls  laughed. 
uilt  made  me  want  to  chuck  it 
all   and   never   go   to  another 
odance  again. 

But  something  within  me  re- 
belled.     My    pride,  perhaps. 
'Show  them  you  can  do  it!" 
t  whispered.    "Show  them  you 
1  fan  dance   as  well  as   they !" 
!  put  how?    I  asked  myself.  I 
ELreally   couldn't  dance.    I  had 
hp    confidence    in    myself.  I 
ertainly  couldn't  go  to  a  danc- 
ng  school,  and  I  couldn't  af- 
ford a  private  teacher.  What 
ould  I  do? 


the      simple      directions  and 
diagrams,      practicing  before 
a   mirror.        Before   I    knew  it, 
I    had    mastered    a  fascinating 
fox-trot  step!     I  learned  how  to 
follow,    how    to    lead,   how    to  be 
perfectly    at    ease    and    have  poise 
of  manner  in  the  ballroom.    It  was 
wonderful!       In     one     evening  I 
learned  to  dance. 


And  then  I  astounded  everyone! 
I   went    to    a   dance    (no    one  ex- 
pected me  to  accept  the  invitation), 
and  I  deliberately  asked  the  best 
dancer    there    to    be    my  partner 
It  was  a  fox-trot.    We  began  to 
dance,     and     others    stopped  to 
watch  us.    They  expected  me  to 
be    the    goat    again— but  they 
were  disappointed. 


We     danced     that  fox-trot 
perfectly     together.      We  did 
all  the   lates't   steps   like  pro- 
fessionals.    I  was  absolutely 
at   ease,    never    felt    so  com- 
fortable   and    poised  before 
It    was    wonderful!  They'll 
never    laugh    at    my  dancing 
again. 


5  Lessons  Free 


/low  I  Gained  Confidence 
in  Myself 

Suddenly  I  had  an  idea.  Yes, 
d  do  it!  I'd  astound  them! 
d  become  the  best  dancer  of 
iem  all ! 

That    evening    I    wrote  to 
rthur    Murray,  world-famous 
ancing  master.     I  knew  that 
charged  $10.00  a  lesson  in 
1  s  studio,  but  I  knew  also  that 
-  had  five  lessons  in  dancing 
at  he  offered  free.     I  asked 
<m  to  send  these  five  lessons 
me. 

When  they  came.  I  followed 


Arthur    Murray    will     be  | 
glad     to     send     his     five  / 
free     lessons  to  any 
one     who     is  inter- 
ested   in  becoming 
an  accomplished 
dancer.     These  les- 
sons     prove  better 
than      anything  he 
can    say    that  through 
his       method  anyone 
can    learn    to    dance    at    home,  with- 

TnPJnUfC  Without    a  P"art*er. 

These    lessons    teach     you    how  to 

and     fox-trot,     how     to     have  poise 
and  confidence.     Send  for  them  today 
-they    are    yours    to    keep  without 
obligation.    This  coupon  brings  the 
promptly.  1 

ARTHUR  MURRAY, 

Studio  414 

290  Broadway.       New  York 


nVEJ^REE^LJESSON  COUPON 


Arthur  Murray,   Studio  414 
290  Broadway,  New  York 

To  prove  that  I  can  learn  to  dance  at  home  in 

t  5-  h,SSO>.S,  whlch  are  The  Secret  of 
Leading:  (2)  How  to  Follow  Successfully :  (3) 
How  to  Gam  Confidence:  (4)  A  Fascinating  Fox- 
trot Step;  (5)  A  Lesson  in  Waltzing.  I  encl..«e 
<!i-e  to  pay  for  the  postage,  printing,  etc. 


Name 
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City    . . . 


SCREENLAND 


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Success  Pays  Dividends — con- 
tinued from  page  23 

but  a  great  wholesale  outpouring — the 
stores  offer  their  wares  and  scrubwomen 
their  pittance,  little  children  volunteer  sac- 
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— but  he  is  full  of  Irish  sentiment  arid  j 
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him — it  was  a  tribute  from  the  hearts  j 
of  friends. 

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There  seems  to  be  no  question  about  ; 
it,  that  some  of  our  stars  do  not  earn] 
all  the  money  they  are  paid. 

They,  poor  things,  are  not  always  ted 
blame  for  the  size  of  their  salaries.  Butj 
the  "gifts"  from  the  great  picture-fan! 
public — who  have  already  paid  theii 
honest  share  of  the  star's  salary  at  the 
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woman  next  door  and  the  little  old  mar 
at  the  other  end  of  the  town  give  wher 
we  don't  have  to  give — that  is  the  rea 
gift — it  is  the  hand  of  friendship. 

The  overcharge  for  mending  a  shoe,  of 
a  roof,  or  a  political  reputation  is  righth 
named  Graft.  But  what  about  this  seem 
ing  overcharge  for  mending  broker 
hearts  and  downcast  spirits  by  the  peo; 
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Why,  if  the  Big  and  Little  Fellow 
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little   hamlet   throughout  'these  Unite 
States,  and  if  they  would  only  take  th 
trouble  to  pass  through  each  town  "i 
person,"  they  would  feel  it  come  pourir 
out. 

If  anybody  should  ask  us  what  v. 
thought  was  one  of  the  biggest  thin§ 
the  motion  picture  had  done  for  % 
world,  we  would  say  unhesitatingly  th| 
it  was  its  power  to  arouse  this  largf 
spirit,  or  sentiment,  of  generosity,  th 
desire  to  give!    The  screen  rouses  th 


SCREENLAND 


85 


is  Tours 
Master 


CICK  at  heart  the  trembling  girl  shud- 
^  dered  at  the  words  that  delivered  her 
to  this  terrible  fate  of  the  East.  How 
could  she  escape  from  this  Oriental  mon- 
ger into  whose  hands  she  had  been  given — this  mysterious 
i.ian  of  mighty  power  whose  face  none  had  yet  seen? 

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MASTERPIECES  OF  ORIENTAL  MYSTERY 


11  SUPERB  VOLUMES 

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WE'-  'T*^  THE 

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best  qualities  in  us  and  fills  us  to  over- 
flowing with  friendliness  toward  those 
who  are  portraying  life  on  the  silver 
sheet. 

Name  any  other  single  agency  outside 
the  screen  that  has  penetrated  to  the 
darkest  corners  of  the  backstreets  of  the 
world  or  the  alleys  of  life  and  rented 
their  dingiest  halls  and  set  up  dazzling 
lights  in  front  of  them  and  invited  the 
poor  in  pocket  and  in  spirit  to  flock  in 
at  a  few  cents  a  head.  And  what  did 
these  doubting  spirits  and  poverty- 
stricken  hearts  find  within  but  the  veri- 
est Palace  of  Dreams  Come  True!  They 
bless  the  Broadways  of  Life  as  well. 

Who  among  us  can  witness  "The  Cov- 
ered Wagon,"  for  instance,  without  a 
more  patriotic  pride  in  the  race  of  stal- 
wart men  and  women  from  whom  we" 
have  sprung?  Who  can  look  upon  Doug- 
las Fairbanks  in  any  of  his  pictures  with- 
out drinking  in  the  wine  of  life  and  feel- 
ing the  joy  of  living! 

But  I  wanted  to  find  out  how  the 
artists  themselves  felt  about  this  ''great- 
ness" angle  of  their  profession.  I  in- 
terviewed several  and  found  that  they 
seldom  went  around  bragging  about  their 
''art."  I  fcund  that  I  had  to  drag  it 
out  of  them  and  that  they  usually  spoke 
exactly  the  opposite  to  what  they  really 
felt  about  things. 

Lon  Chaney  smiled  and  looked  at  me 
keenly  as  though  he  thought  I  might  be 
kidding  him.  "Greatness?  Bunk!  Who 
do  you  think  we  are,  anyway?  It's  all 
in  the  day's  work."  I  liked  what  he 
said  next.  It  proved  what  a  bunch  of 
pals  these  screen  people  are.  "Some  di- 
rectors are  great  and  maybe  they  pass 
on  a  little  of  it  to  me  and  some  stories!" 
He  sighed  at  the  memory.  "Oh.  boy, 
some  stories  are  just  a  shining  lump  of 
golden  greatness— take  'He  Who  Gets 
Slapped!'  or  'The  Hunchback  of  Notre 
Dame'!" 

I  think  none  of  us  will  agree  with 
Lon's  modest  meaning  that  he  wasn't 
a  large  part  of  their  greatness. 

"But  the  graft  part  of  your  question 
is  really  true.  Come  nearer."  He  spoke 
in  a  lowered  voice  and  looked  around 
with  mock  guilt.  "I  really  do  get  that 
wherever  I  go.  Even  the  bootblack 
drops  the  other  bird's  shoe  half-polished 
and  runs  to  me.  I  don't  have  to  wait 
in  line  anywhere  for  anything.  The  cop 
or  the  doorman  or  the  ticket  taker  spots 
me  and  shoves  me  in  ahead  of  all  the 
other  guys.  I'm  a  good  sport  and  want 
to  take  my  turn  with  the  others,  but 
they  won't  let  me— not  even  the  fel- 
lows ahead  of  me  who  set  up  a  howl  until 
they  recognize  me  and  then  smile  their 
heads  off  just  because  they  had  done 
their  bit  toward  it." 

"What  has  been  the  greatest  single 
instance  of  'Graft'  of  which  you  have 
been  the  recipient.  Miss  Murray?"  I 
asked  that  little  Queen  of  the  Mavs. 


SCREENLAND 


87 


What  Sort  of  Woman 
Shall  I  Marry  ? 

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send  me  theater  iiickets  as  though  my 
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improve  the  show!"  She  laughed  at 
the  absurdity  of  such  an  idea. 

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carafe  of  Chianti  wine.  Finally,  in  de- 
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starting  point,  won  over  to  laughing  with 
them  in  their  goodness  of  heart.  I  gave 
up  my  'business'  for  the  day!" 

And  remember  the  well-meaning  mobs 
that  pursued  Doug  and  Mary  all  over 
Europe? 

This  "graft"  then  is  nothing  more  nor 
less  than  the  hall-mark  of  esteem. 

Rather  a  simple  thing  after  all,  this 
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limit,  for  that's  where  true  greatnes 
began  and  there  only  does  it  end. 


Blind  Man 's  Bluff — continued  jrom  page  19 


Woodbridge,  N.  J. 


that  little  harbor;  he  would  never  start 
the  picture  whose  sets  and  script  were 
completed,  waiting.  Never  see  the  sky, 
the  streets,  the  people.  He  was  blind, 
blind — eternal  darkness,  lightless,  groping 
— hopeless.    It  was  beyond  endurance. 

Here  was  a  pause.  Paton  looked  over 
to  the  side  wall  and  there  hung  the  pic- 
ture of  a  little  girl  of  about  six  and  a 
boy  about  eleven.  He  cleared  his  throat 
with  a  smiling  effort  and  continued: 

"It  was  pretty  bad  and  I  could  feel 
myself  slipping.  But  when  they  took 
me  home,  Tootsie  and  Jimmy  (pointing 
to  the  picture  on  the  wall)  were  waiting 
for  me.  My  baby's  kiss  trembled,  as  if 
such  a  wee  bit  o'  a  lass  could  vaguely 
understand.  'Daddy,'  she  said,  'won't 
your  eyes  look  out  at  all?  Ever? 
'Course  they  will!  They're  jus'  the  same,' 
and  she  gave  that  sort  of  child's  sob  that 
breaks  your  heart  after  a  spanking. 

"Nobody  knows  what  I'd  have  given 
to  have  told  her  'yes,'  but  right  there  I 
said  to  myself:  'They  say  I'm  blind; 
they  say  I'll  always  be  blind;  but  I  won't; 
/  say  I  won't  be  blind.'  " 

So  the  fight  began — for  the  kids. 

Born  with  a  weak  constitution,  Paton 
had  fought  off  consumption  since  birth. 
Instead  of  becoming  a  lawyer,  as  his 
family  insisted,  he  went  on  the  stage  in 
England,  but  soon  his  doctor  informed 
him  he  must  leave  England — go  to  a 
different  climate — or  he  could  never  last. 
He  came  to  America,  and  in  our  glorious 
sunshine,  with  his  unfailing  faith  and 
belief  in  the  Supreme  Power,  regained  his 
health  and  started  out  to  make  good. 

Moving  pictures  were  in  their  infancy. 
He  knew  he  was  the  greatest  actor  on 
earth,  and  when  a  moving  picture  com- 
pany called  for  an  artist  to  play  "Ham- 
let"— although  the  movies  were  much 
despised  and  you  only  took  a  job  in 
order  to  eat — Paton  was  hired  for  the 
part.  To  his  chagrin,  in  the  middle  of 
that  marvelous  "To  be  or  not  to  be," 


from  all  sides  of  the  stage  came  over 
ripe  tomatoes  and  overlaid  eggs!  Late 
he  learned  he  was  staging  some  work  fo 
the  Gold  Dust  twins — they  were  to  comi 
in,  clean  up  in  a  jiffy,  and  show  all  house- 
wives that  without  Gold  Dust  life  wasn' 
worth  living.  That  was  his  start  in  thi 
"movies." 

Since  then  be  has  directed  many  pic 
tures.  There  are  very  few  famous  play 
ers  he  hasn't  directed.  He  named  then 
to  me — Rex  Ingram,  Priscilla  Dean,  Bett} 
Compson,  Dorothy  Phillips,  Harry  Carey  i 
Wallace  Beery,  Marie  Prevost,  Kennetl 
Harlan  —  and  a  lot  more.  "Bavu."  fo: 
Universal,  was  his  last  before  the  acci 
dent.  Strangely  enough,  he  has  writter 
and  directed  many  stories  about  blind 
ness.  "Through  Blind  Eyes"  is  a  ston 
he  wrote  years  ago.  He  directed  "Througl 
the  Eyes  of  the  Blind"  and  "The  Grea. 
White  Darkness" — both  stories  of  blind- 
ness. And  now,  God  willing,  he  will  start! 
his  first  picture  since  the  darkness  lef 
him.  It's  called  "My  Lord  of  th< 
Double-B."  and  he's  going  to  make  r 
"different.'' 

"My  banker  won't  be  stout  and  well 
dressed.  I'm  going  to  make  him  pun} 
and  badly  groomed.  My  villain  won' 
look  like  the  villain — you'll  think  he's  thi 
hero.  And  my  miser  won't  be  weak,  ok 
and  bent — begad,  I'm  going  to  have  bin 
stout,  young  and  good-looking."  says 
Paton. 

So  he's  won.  It's  taken  two  years  o: 
pain  and  torture  in  mind  and  body,  anc 
his  entire  fortune  of  about  one  hundrec 
thousand  dollars.  They  were  two  lonj 
years  that  seemed  centuries,  but  tha; 
faith,  that  belief  in  everything  good,  ha: 
brought  him  the  light.  He  says  it  wai 
faith  and  the  kids.  He  had  to  see  foi 
the  kids — they  needed  him  so.  But  kids 
aren't  they  Faith? 

"A  wee  bit  o'  faith — and  the  kids- 
pack  an  awful  wallop,"  says  Stuar: 
Paton. 


SCREENLAND 


91 


The  <JMovie  First  lighters 
Continued  from  Page  1 7 

will  testify.  But  a  fan  will  fight  for  a 
glance  at  a  movie  queen.  He  will  make 
one  supreme  effort,  tear  himself  apart 
from  the  frantic  mob  which  presses  him 
on  all  sides,  and  edge  near  enough  to 
ascertain  that  she  is  more  lovely  than 
he  thought  she  was,  and  that  her  dia- 
monds are  real.  Sometimes  he  gets  near 
enough  to  shout,  "Hello,  Dick,"  or 
"Howdy,  Doug.,"  and  is  rewarded  by  a 
smile  of  good  fellowship  or  even,  if  his 
fellow-fans  will  permit  it,  a  firm  hand- 
clasp. Then  he  is  indeed  accounted  a 
lucky  dog. 

It's  night-time  along  Broadway — and  if 
you  have  never  seen  a  movie  first-night 
on  the  good  old  thoroughfare,  you've 
never  really  seen  Broadway.  The  most 
intricate  traffic  system  in  the  world  is 
held  up  to  permit  the  flashlight  men  to 
photograph  the  theatre  which  houses  the 
new  "cinema  masterpiece  de  luxe."  The 
most  harassed  and  handsome  policemen 
grin  away  their  troubles  and  give  their 
whistles  the  authoritative  puff  which  puts 
the  ordinary  traffic  in  its  place  so  that 
some  king  and  queen  of  filmdom  can 
arrive  safely  in  time  to  bow  before  the 
subjects  assembled  to  pay  them  homage. 
It's  like  nothing  so  much  as  a  personal 
appearance  of  royalty,  except  that  roy- 
alty in  these  times  could  never  command 
such  low  obeisance. 

When  the  film  first  nights  were  new 
and  strange,  and  it  was  still  little  short 
of  a  sacrament  to  be  at  close  quarters 
with  screenland's  stars,  the  clans  of  fans 
would  appear  on  the  scene  punctually  at 
eight,  and  patiently  await  the  coming  of 
-heir  idols.    When  Mary  and  Doug  and 
Charlie  or  Gloria  and  Marion  and  Dick 
would  finally  arrive,  they  would  step 
rom  their  cars  into  a  sea  of  outstretched 
irms  and  eager  faces — a  sea  which  surged 
i  "ibout  them  and  swept  them  up,  regard- 
]jess  of  sables  and  sheer  gowns  and  glit- 
tering head-dresses  and  fragile  feet,  in  a 
ierce  embrace.    Once  at  a  first  night— 
The  Thief  of  Bagdad,"  the  Fairbanks 
■icture — little  Mary  was  lost  for  a  mo- 
Qent  in  that  tumult,  until  a  burly  cop 
[  fted  her  up  and  poised  her  on  his  broad 
?houlder,  where  like  a  pretty  butterfly 
ae  perched  and  rode  right  into  the  thea- 
j.-e  like  a  real  queen.    On  another  occa- 
ion  Miss  Pickford's  ermine  wrap  was 
|  foin  of  all  its  tails  in  the  encounter 
1  '  ith  her  worshippers. 

Now  ' these  film  first  nights  are  more 
'derly.    Policemen  are  on  hand  to  part 
way  through  the  crowds,  so  that  the 
ars  of  the  evening  and  the  people  who 


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have  paid  to  get  in  to  see  the  picture 
may  enter  the  theatre  without  risk  tc 
raiment  or  peril  to  peace  of  mind.  The 
fans  come  early  to  avoid  the  rush,  bui 
they  have  learned  to  curb  their  eagemes: 
—if  they  don't  they  may  have  to  gt 
home  without  a  glimpse  of  their  favorite 
The  spotlight  focussed  upon  the  theatn 
from  somewhere  across  the  street  give 
the  scene  all  the  vivid  color  of  the  tent 
show;  but  the  stars  and  their  satellite 
are  letter-perfect  in  their  roles  and  neve 
step  out  of  them. 

For  it  is  not  only  the  particular  lad 
or  gentleman  of  the  evening's  entertair 
ment  that  the  fans  have  thronged  to  se< 
Sometimes  the  star  of  the  screen  play  : 
far  away  at  the  time  of  the  premier?  C 
his  picture — in  California  on  location  c 
Europe  on  vacation.  But  the  star 
friends  and  the  star's  foes— her  wel 
wishers  and  her  rivals — her  managers  an 
the  producers  of  the  opposition  him  th; 
opened  two  nights  before — they  make  u 
the  audience.  There  are  the  newspapi 
critics,  who  usually  arrive  late  and  lea-i 
early,  in  time  to  dash  off  their  revie 
for  next  morning's  edition.  There  a 
sprinklings  of  relatives  and  press  agen 
and  a  few  fans  who  just  can't  wait  h 
til  the  picture  comes  to  their  pet  neig 
borhood  theatre.  But  most  of  the  fir; 
nighters  are  celebrities — come  to  wat 
their  shadows  on  the  sreeen  from  the 
comfortable  orchestra  chairs. 

It's  at  these  film  first  nights  that  t 
fans  learn  all  about  their  idols.  TL 
jee  Miss  Blank  with  Mr.  Blanker, 
immediately  begin  to  believe  all  they  re 
in  the  papers.     One  star  appeared 
regularly  at  film  first   nights  with  1 1 
production  manager  of  her  company  th 
she  began  to  be  deluged  with  letters  frc 
first  night  fans  asking  her  when  she 
tended  to  marry  the  gentleman.  ]fi 
the  star  is  attended  only  by  her  moth- 
Dick  Barthelmess  and  Mary  Hay  are 
ways   together,   and   often  included 
Dick's  beautiful  mother,  Caroline  B 
thelmess.    Gloria  Swanson  slipped  by 
first  without  general  recognition — so  mi 
more  petite  and  dainty  is  the  real-1 
Gloria  than  her  shadow.    But  now 
fans  know  her,  and  she  always  gets 
ovation   from   the  impromptu  audie: 
which  crowds  around  the  theatre  dot 
Lillian  and  Dorothy  Gish  always  slipj, 
by  the  stage  entrance,  and  so  never  h 
any  trouble  on  their  own  first  nights 
The  opening  of  "Janice  Meredith" 
the  Cosmopolitan  Theatre  in  Colum 
Circle  was  not  graced  by  its  star,  Mai 
Davies,  who  was  in  California.  But 
her  pictures  always  bring  out  represei 
tives  of  the  social  world  as  well  as  fi 
dom's  aristocracy,  there  was  a  great  si 
for  the  fans.    Nita  Naldi  surprised  sc 
of  them  by  registering  hauteur  when  t 
hoped  for  a  smile.    Holbrook  Blinn  ■ 


SCREENLAND 


93 


)resent  '  in  person"  to  watch  his  shadow 
avort  on  the  screen,  and  so  was  Maclyn 
\rbuckle.  Robert  Manteli,  the  stage's 
Shakespearian  actor,  passed  by  un- 
ecognized.  The  Cosmopolitan,  incident- 
,My,  was  once  the  Park  Theatre,  dedi- 
ated  to  musical  comedy,  and  once  was 
he  scene  of  the  first  night  of  Mont- 
gomery and  Stone  in  "The  Wizard  of  Oz." 
What  ghosts  walk  there  on  film  first 
jights ! 

The  fans  sometimes  return  to  the  thea- 
tre after  the  picture  is  over,  to  watch 
[he  stars  come  out.  They  assembled 
gain  after  "Janice  Meredith"  had  made 
er  debut  and  applauded  Gloria  Swanson 
nd  Barbara  La  Marr  and  Seena  Owen 
nd  many  more.  They  failed  to  notice 
j  little  figure  among  all  the  glittering 
nes  who  slipped  out  and  vanished  into 
Broadway's  mobs.  She  was  Florence 
"urner,  the  first  motion  picture  star,  the 
irl  who  once  had  the  power  to  sway 
iiousands — now  unacclaimed.  She  seemed 

little  wistful  as  she  turned  and  watched 
ae  show,  but  she  smiled  as  she  hurried 
way.  She  may  have  been  remembering 
)me  film  first  night  of  her  own,  and 
linking  that  the  stars  of  today  cannot 
nine  forever. 

But  how  brightly  they  shine  on  Broad- 
ay!    How  much  like  gorgeous  birds  they 
reen  themselves  for  these  first  nights! 
i    the    intermissions    they    all  move 
wards  the  -lobby  and  there  gather  in 
leir  own  little  groups  and  talk  about 
;:he  picture."   You  are  never  quite  sure 
fist  what  picture  it  is;  but  phrases  float 
)  you — "She  stands  the  close-ups  pretty 
ell,  doesn't  she?"— "I  thought  her  big 
ene  was  overdone."    "I  want  that  lead- 
ig  man  for  my  next  picture — make  a 
jbte  of  that."    "The  picture  of  the  cen- 
.  iry."    "A  sure  flop  at  the  box-office." 
V'hese  screen  stars  have  a  language  all 
'"ffeir  own. 

A  Sometimes  the  audiences  are  so  en- 
■  ossing  that  the  picture   takes  second 
'  "ace.    At  the  premiere  of  "Greed."  which 
is  singularly  marked  by  the  absence 
its  director,  von  Stroheim,  or  anymem- 
Itr  of  the  cast,  Fannie  Ward  was  the 
ntre  of  the  stage.   The  perennial  beauty 
'  |s  lately  returned   from  London  and 
iris,  where  she  now  makes  her  home; 
id,  in  a  dazzling  French  gown,  she  stood 
'    the  aisle  chatting  to  an  old  friend. 
re  shrilled  her  delight  at  being  once 
3re  a  film  celebrity,  even  though  a  vi- 
rious  one.    Fannie  used  to  be  in  Para- 
aunt  pictures  long  ago,  you  know — she 
ide  "The  Cheat"  before  Pola  Negii 
JL 

Peggy  Hopkins  Joyce  has  gone  in  for 
,m  first  nights,  but  she  is  not  yet  an 
Jl  of  the  fans.  There  will  always  be 
'  e  astute  observer,  however,  to  point  and 
'.  "There's  pretty  Peggy!" 
Marion  Davies  used  to  be  so  shy  that 
p  gained  the  temporary  ill-will  of  the 


tfJ 


fans  who  assembled  to  see  her.  She 
would  duck  her  head  like  a  school-girl 
and  dash  past  into  the  theatre.  But  now 
that  Marion  realizes  that  all  those  peo- 
ple are  her  friends,  she  never  fails  to 
smile  and  say  "Hello."  Hope  Hamp- 
ton's greeting  is  always  accompanied  by 
a  friendly  little  wave  and  an  illuminat- 
ing exhibition  of  the  famous  Hampton 
ivories.  Dick  Barthelmess  has  disap- 
pointed a  few  of  his  fans — he  is  not 
quite  so  handsome  as  his  close-ups;  but 
when  he  grins,  all  the  crowd  is  his  for 
life.  Harrison  Ford  contracted  writer's 
cramp  at  one  film  first  night  when  a  bevy 
of  sub-debs  surrounded  him  and  begged 
for  autographs.  Harrison  is  another  actor 
who  is  painfully  shy,  but  his  good-nature 
makes  up  for  it.  Bebe  Daniels  is  almost 
always  among  those  pleasant;  but  of  late 
she  has  seemed  to  acquire  a  studied  in- 
difference to  it  all,  which  is  out  of  char- 
acter for  Bebe.  Dagmar  Godowsky  is 
better  known  to  New  York  fans  through 
her  personal  appearances  at  premieres 
than  she  is  from  her  pictures;  but  her 
exotic  beauty  has  made  her  one  of  the 
outstanding  figures.  Ben  Lyon  has  re- 
cently commanded  attention  and  his  boy- 
ish beam  always  'gets  a  hand.  Norma 
Talmadge.  whenever  she  is  in  New  York, 
is  a  cheerful  attendant  at  any  star's  first 
night  except  her  own.  She  doesn't  go 
to  be  seen,  but  to  see.  And  it  requires 
real  will-power  to  be  in  Florida  when 
one  of  your  best  pictures  makes  its  bow 
to  Broadway.  Norma  didn't  even  wait 
to  see  herself  in  "Secrets." 

The  stellar  box  shares  with  the  screen 
the  interest  inside  the  theatre.  The  old 
Griffith  first-nights  saw  the  stars  of  the 
picture  in  an  upper  box.  and  it  was  a 
charming  and  graceful  performance  when 
Lillian  Gish,  or  Carol  Dempster,  or  Bobby 
Harron,  or  Dick  Barthelmess  would  rise 
'in  answer  to  the  thunderous  applause. 
Mr.  Griffith  always  came  out  at  the  end 
of  his  picture  to  bow  and  make  his  little 
speech;  and  then  he  would  point  to  the 
box  and  say,  "Don't  forget  my  players." 
Once — it  may  have  been  at  "Way  Down 
East,"  which  cemented  Lillian  Gish's  rep- 
utation as  an  emotional  artist — the  audi- 
ence paid  little  heed  to  the  director  and 
directed  all  its  tribute  to  the  box.  D. 
W.  smiled  and  said,  "You  are  looking  in 
the  right  direction — she  deserves  all  your 
applause." 

See — even  the  film  first  nights  have 
their  traditions  to  live  up  to!  Although 
it  is  a  comparatively  youthful  institution, 
already  we  are  saying,  "Ah — but  you 
should  have  seen  the  first  night  of  'The 
Orphans  of  the  Storm!'  There  was  a 
first  night  for  you!" 

Whenever  Mary  Pickford  and  Douglas 
Fairbanks  come  to  New  York  they  are 
heralded  for  weeks;  and  all  Manhattan 
knows  they're  here.  The  occasion  is 
either   a    departure    for   Europe,    or  a 


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premiere  of  one  of  their  pictures.  Nat- 
urally, the  crowds,  having  waited  pos- 
sibly for  weeks  for  glimpses  of  the  Fair- 
banks couple,  show  their  enthusiasm  in 
no  uncertain  terms.  What  if  they  dc 
tear  Doug's  evening  clothes  to  pieces,  and 
eat  Mary  up?  That's  what  they  came 
for.  At  one  of  these  first  nights  a  by- 
stander was  heard  to  remark,  ''It's  a 
shame — why  don't  they  let  these  poor 
people  get  by  in  peace,  even  if  they  are 
movie  actors?" 

And  from  the  crowd,  somewhere,  came 
a  high-pitched  voice  raised  in  feminine 
indignation:  "What  do  you  mean,  a 
shame?  They  know  we'd  be  here,  didn't 
they?  And  they  make  their  pictures  for 
us,  don't  they?  Haven't  we  done  enough 
for  them?" 

-  That's  the  answer.  The  film  first  Bight 
couldn't  get  along  without  the  fans,  any. 
more  than  the  films  could.  The  screen 
star  from  his  pedestal — the  pedestal  his 
public  has  built — is  glad  to  be  a  good 
sport  about  it,  for  money  or  not — yes. 
even  were  he  broke  tomorrow — the  fans 
come  to  pay  tribute  to  the  man  he  is. 

First  ISlight 
in  Hollywood 

^By  Cor<zl  Oyce 

Sid  Grauman  had  everything  from  Sen- 
nett  bathing  girls  to  the  fire  depart- 
ment out  to  welcome  the  Gishes  and  ! 
"Romola"  to  his  Egyptian  Theatre.  What 
a  jam!  Everybody  was  there  but  Mary 
Pickford.  She  royally  awaited  them  at; 
the  Ambassador.  Mary  seldom  descends 
from  her  throne. 

Lillian  and  Dorothy  that  morning  had 
stepped  off  the  train  to  a  deluge  of  flow- 
ers and  the  clicking  of  cameras.  Lillian 
as  sweetly  enigmatic  as  ever,  Dorothy  as 
peppy  as  of  old. 

"Romola,"  you  can  see.  got  off  to  a 
good  start. 

If  only  premieres  made  pictures ! 
I  doubt  if  there  has  ever  been  a-more 
brilliant  opening.  A  mob  outside  the 
Egyptian  and  a  megaphone  calling  the 
celebrities  as  they  came.  Curious  faces  i 
formed  a  human  aisle.  Fame  and  for- 
tune traversed  its  length.  A  famous 
scenario  writer  had  me  in  tow.  The 
megaphone  shouting  her  name  knocked 
us  for  a  row  of  blushes. 

Within — soft  lights,  a  subdued  murmur.  : 
.  Fame  disposed  itself  in  little  groups, 
chatting  of  this  and  that.  Mostly  of 
Charlie  Chaplin's  latest  marital  indiscre- 
tion. Wondering  would  he  appear  with 
his  bride,  a  picture  of  domestic  felicity. 
Charlie  didn't.  Tom  Ince's  name  was 
whispered.  My  memory  jerked  back  tc 
the   premiere    of    "Janice  Meredith." 


Charlie  Chaplin  was  master  of  ceremonies 
hat  night  and  in  merry  mood.  Tom 
!nce  was  there,  too — a  dominant  pres- 
ence. Tom's  last  premiere.  .  .  Why 
.hould  the  spirit  of  pictures  be  proud? 

.  .  A  stir  and  a  craning  of  necks, 
iudy  Valentino  with  Natacha  and  Nita 
N'aldi.  Natacha  more  stunning  than  the 
:xotic  Nita.  Rudy  wore  his  whiskers 
ind  an  embarrassed  manner.  He  rushed 
.o  his  seat  as  though  seeking  shelter. 
Overwhelmed,  perhaps,  by  modesty.  .  .  . 

Harold  Lloyd  and  Mildred.  Mid  in  an 
;rmine  coat  and  customary  good  humor, 
fehe  scattered  gay  hellos  as  she  trudged 
ilong  in  Harold's  wake.  .  .  .  The 
relebrated  lovers — Claire  Windsor  and 
|Jert  Lytell.  Claire,  radiant  and.  oh.  so 
:itzy!  Nothing  up-stage  about  Bert, 
hough.  They  accuse  Claire  of  high- 
aatting,  but  Bert  is  always  himself.  .  .  . 
Lillyan  Tashman  and  Edmund  Lowe,  as 
devoted  and  as  imminently  married. 
Lillyan  had  on  a  most  fetching  frock — 
me  of  those  revelations  as  to  what  can 
3e  accomplished  with  a  yard  of  velvet 
Bnd  a  wisp  of  tulle  .  .  .  Mickey 
Xeilan,  with  his  magnificent  manner  of 
Celtic  unconcern,  and  his  fascinating 
srife.  Blanche  Sweet  fairly  stings  me  into 
attention.  With  her  around,  I  simply 
annot  see  anyone  else.  .  .  .  Lois 
Wilson,  looking  her  prettiest,  and  pro- 
pelled along  without  masculine  aid.  Lois 
usually  goes  about  with  a  bunch  of  girls 
.  .  Owen  Moore  and  Kathryn  Perry 
That  marriage  seems  to  have  taken 
Tom  was  slagging  it,  and  trying  to  avoid 
bis  ex-wives.  Alice  Joyce  was  there,  as 
was  Renee  Adoree.  Renee  with  Gaston 
Glass — you  seldom  see  one  without  the 
Dther.  .  .  .  Pauline  Garon  came  along 
with  Warde  Crane.  They  stopped  to  chat 
[  hadn't  met  Pauline,  and  was  surprised 
it  her  throaty  voice  and  sophisticated 
nanner.  I  always  imagined  she  was  an 
ngenue.  ...  A  flurry  at  the  en 
:rance  announced  the  arrival  of  the 
wishes.  An  agitated  attendant  waved  us 
3jck.  Mentally  we  knelt  down!  The 
riumphal  procession  over,  a  bell  clanged 
md  we  rushed  to  our  seats.  A  dazzling 
prologue  and  the  picture  was  on.  ...  An 
ibsorbed  hour  before  we  commenced  to 
;quirm  in  our  seats.  Beside  me,  George 
lelford  went  fast  asleep!  Long  before 
idnight.  when  somebody  stood  up  and 
eulogized  Sid  Grauman,  Henry  King  and 
he  Gishes.  That  brought  forth  Mr.  King, 
.vho  modestly  disclaimed  it  all,  and  Lil- 
ian and  Dorothy,  looking  as  though  they 
aad  stepped  from  daguerrotypes.  They 
svere  dressed  just  alike,  except  that  Lil 
fan's  dress  was  blue,  Dorothy's  pink 
\Yhen  the  clamor  had  subsided — it  was 
i  great  demonstration! — Lillian  swept  us 
iff  our  feet  with  a  clever  little  speech. 

The  show  is  over,  the  run  of  "Romola' 
s  begun.  We  jostle  to  the  sidewalk  and 
brave  the  human  aisle  again.  Anothe 
'film  '"premiere"  has  been  shot. 


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The  April  issue  of 

SCREENLAND 

will  have  articles  by  authorities,  photo- 
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What  Is  Your  Pet 
Superstition? 

Will  a  broken  mirror  cause 

unhappiness? 
What  makes  13  an  unlucky 

number? 
What  is  the  myth  of  the 

four-leaved  clover? 
Why    is    the    horseshoe  a 

"lucky  omen"? 
Does  a  cat  really  have  nine 

lives? 

Do  you  believe  in  the  omen 

of  spilled  salt? 
Are  pearls  unlucky? 
What  does  your  birthstone 

mean? 

Come  Search  with  Us 
Behind  the  Pages 
of  H.story! 

READ  ABOUT 

— the  king  who  kissed  every 

girl  in  Normandy 
— the  Queen  who  enslaved 

the  boy-king  Nero 
— the  betrothal  of  an  infant 

boy  and  girl 
— the  famous   man  in  his- 
tory who  wore  a  corset 
— the  superstition  that  made 

Napoleon  unhappy 
— the  wonderful  bard  who 

was  blinded  by  the  Greeks 
— the  woman  who  confessed 

she  was  a  "witch" 

One  Person  in  a 
Thousand  Knows 

— why  we  say  the  stork 
brings  babies 

— how  the  kiss  originated 

— why  the  Egyptians  mum- 
mified their  dead 

• — why  marriage-rings  are 
worn 

— the  significance  of  orange 
blossoms  on  brides 

— why  black  is  the  color  of 
mourning 

— why  Chinese  women  com- 
press their  feet 

— why  the  Egyptians  wor- 
shipped the  snake 

— why  cannibalism  started 


The  whole  amazing  storj 
of  human  life  / 


BACK  to  the  very  cradle  of  hu- 
man existence!  All  through  the 
many  ages  and  stages  of  man's 
development! 

The  dawn  of  love,  the  beginning  of 
faith,  the  discovery  of  voice,  the  early 
struggles  with  the  forces  of  nature,  the 
miracle  of  birth,  the  mystery  of  death, 
the  germ  of  superstition,  customs  and 
habits  of  life — the  powerful  and  inspir- 
ing story  of  man's  personal  develop- 
ment at  last  in  one  astounding  volume! 

What  do  you  really  know  about 
yourself?  When  did  man  stand  erect 
upon  the  earth  for  the  first  time? 
How  old  is  human  marriage?  What 
is  religion?  Why  do  we  clothe  our- 
selves? How  did  man  discover  that 
he  had  a  soul? 

Here  is  one  of  the  most  fearless  and 
truthful  discussions  of  human  nature 
ever  written.  It  tells  you  thousands 
of  fascinating  tales  about  yourself — ■ 
startling,  extraordinary  things  you 
never  suspected.  Illustrated  not 
only  with  remarkable  pen  sketches 
and  color  drawings,  but  with  hun- 
dreds of  actual  photographs. 

Man's  Habits  and  Instincts  Traced 
Back  to  Their  Source 

All  civilization  is  but  a  thin  veneer 
over  the  surface  of  savagery.  The 
habits,  customs,  impressions,  fears, 
impulses  and  passions  accumulated  by 
our  ancestors  since  the  beginning  of 
life  still  slumber  within  us. 

For  instance,  there  existed  in  the 
dawn  of  life  a  human  pairing-off 
system  which  took  place  at  a  time 
that  corresponds  to  what  is  now  June. 
That  accounts  for  the  modem  urge  to 
marry  in  June. 


Similarly,  we  throw  rice  after  the 
bride  because  it  satisfies  a  certain 
primitive  impulse,  and  we  dare  not 
say  in  words  what  this  curious  old 
custom  suggests. 

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THE  COVERED  WAGON  Emerson  Hough 

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THE  TEN  COMMANDMENTS  Henry  MacMahon 

SCARAMOUCHE  Rafael  Sabatim 

JANICE   MEREDITH   Paul  Leicester  Ford 

DOROTHY  VERNON  OF  HADDON  HALL  Charles  Major 

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WANDERER  OF  THE  WASTELAND  Zone  Grey 

MANHANDLED   Arthur  Stringer-Russell  Holman 

THE  SHOOTING  OF  DAN  McGREW  James  J.  Tynan 

YOLANDA   Charles  Major 

THE  WHITE  SISTER  ,,  F.  Marion  Crawford 

BEING  RESPECTABLE   Grace  H.  Flandrau 

LOVE  INSURANCE  (The  Reckless  Age)  Earl  Derr  Biggers 

ANOTHER  SCANDAL   Cosmo  Hamilton 

THE  SALAMANDER  (The  Enemy  Sex)  Owen  Johnson 

MERTON  OF  THE  MOVIES  _.  Harry  Leon  Wilson 

THE  MOUNTEBANK  (The  Sideshow  of  Life)  Wm.  J.  Locke 

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WILD  ORANGES   Joseph  Hergesheimer 

LITTLE  OLD  NEW  YORK  Rida  Johnson  Young 

THE  DAWN  OF  A  TOMORROW  Frances  Hodgson  Burnett 

A  GIRL  OF  THE  LIMBERLOST  Gene  Stratton-Porter 

THE   PLUNDERER  Roy  Norton 

LEATHERSTOCKING   George  A.  Gray 

THE  BREATH  OF  SCANDAL  Edwin  Balmer 

PONJOLA   Cynthia  Stockley 

WEST  OF  THE  WATER  TOWER  ..Homer  Cray 

IF  WINTER  COMES  A.  S.  M.  Hutchinson 

THE  WAY  OF  A  MAN  Emerson  Hough 

THE  HERITAGE  OF  THE  DESERT  Zone  Grey 

RITA  COVENTRY   (Don't  Call  It  Love)  Julian  Street 

A  LADY  OF  QUALITY  Frances  Hodgson  Burnett 

IN  THE  PALACE  OF  THE  KING  F.  Marion  Crawford 

UNDER  THE  RED  ROBE  Stanley  J.  Weyman 

THE    SPANISH   DANCER  Victor  Hugo 

THE  CHEAT   Turnbull-Holmau 

LET  NOT  MAN   PUT  ASUNDER  Basil  King 

THE   VIRGINIAN   Owen  Wister 

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WHEN  KNIGHTHOOD  WAS  IN  FLOWER  ..Charles  Major 

THE  RUSTLE  OF  SILK  ■■  •  •  Gosmo  Ha™ tlt"n 

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THE  FLIRT   }  -Jn,u"'  L'eH'S/l 

ROBIN  HOOD   ■'•  f  t  ",  McSfiadden 

THE  RAMBLIN'  KID  Ear!  Wayland  Bowman 

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HUTCHINSON 


S  ECRETS 


ww!  L,arrj  loose  jace  powder 

as  safely,  as  conveniently,  as  you  would  a  compact! 


ROUGE-AND -LOOSE 
POWDER  VANITY 


A  double  vanity  —  indeed  new, 
bewitchingly  dainty.  It  presents, 
Madame,  these  advantages: 

Ingenious  Powder  Pockets 

A  compartment  in  which  you  may 
carry  loose  Djer-Kiss  Face  Powder 
—as  neatly,  as  safely  as  a  Compact. 
Ingenious  "powder  pockets"  (an 
exclusive  Djer-Kiss  feature)  re- 
lease, each  time  you  open  the  case, 
just  enough  powder  on  your  puff. 

Rouge  Compact 

A  dainty  compact  of  Djer-Kiss 
Rouge— in  the  shade  that  accen- 
tuates your  own  natural  charm. 

double  faced  mirror 

Detail  Mirror 

On  one  side  a  detail  mirror  re- 
flects any  part  of  the  face. 

Reducing  Mirror 

On  the  other  side,  the  unique 
Djer-Kiss  convex  reducing  mirror 
reflects  your  entire  face  at  a  glance, 
so  that  you  may  observe  the  gen- 
eral effect  achieved. 


The  Djer-Kiss  Rouge-and-Loose- 
Powder  Vanity  is  exquisitely  fash- 
ioned of  nickel-silver —  its  cover 
artistically  embossed.  Each  Vanity 
comes  in  its  own  silken-lined  box. 


'omen  e  v 
where  have  been  saying  : 
only  I  could  find  some  way 
carry  loose  face  powder  in 
handbag.  Some  neat,  safe,  con 
venient  way." 

Djer-Kiss  now  offers  you, 
Madame,  the  solution  of  this 
difficulty.  Djer-Kiss  now  pre- 
sents to  you  two  new  vanities: 

The  Djer-Kiss  Loose  Powder  Vanity 
{Illustrated  at  the  right) 
The  Djer-Kiss  Rouge-and-Loose-Powder  Vanity 

(Illustrated  at  the  left) 

Both  of  these  charming  vanities 
have  the  ingenious  Djer-Kiss 
"powder  pockets"  (an  exclusive 
Djer-Kiss  feature).  Each  time 
Madame  opens  her  vanity  case, 
she  will  find  that  these  pockets 
have  released  just  enough  pow- 
der for  her  puff. 

So  easy  to  re-fill 

To  re-fill  the  loose  powder 
compartment,  you  have  but  to 
lift  out  the  tray.  [Re-fill  with 
Djer-Kiss  Face  Powder — for 
this  French  poudre  is  of  incom- 
parable fineness  and  quality.] 
Then  snap  the  tray  back  into 
place. 

Now,  Madame,  your  Vanity  is 
once  more  ready  for  your  use. 


LOOSE  POWDER 
VANITY 

(for  loose  powder  alone) 

Asingle  thin-model  vanity  in  which 
to  carry  loose  Djer-Kiss  Face  Pow- 
der— as  conveniently  as  a  powder- 
compact.  The  unique  powder 
pockets  release  each  time  just 
enough  powder  for  your  puff — 
no  more. 

To  re-fill  the  powder  compart- 
ment, you  have  only  to  lift  the 
tray  and  fill  it  from  your  box  of 
Djer-Kiss  Face  Powder. 


^As  safe  to  carry 

as  a  Compact 


The  Djer-Kiss  powder  pockets  re- 
lease just  enough  powder  for  the 
puff.  No  excess  powder  sifts 
through  to  muss  your  bag.  You 
can  turn  the  open  vanity  upside- 
down —  see!  no  powder  will  sift 
through ! 


^_^/^_S  k  ^en  today  at  your  favorite 
shop  to  see  these  new  Djer- 
Kiss  aids  to  beauty — the  Djer-Kiss 
Powder  Vanity  and  the  Djer-Kiss 
Rouge-and-Loose-Powder  Vaniiy.  See 
with  your  own  eyes  how  at  last,  you 
can  carry  loose  powder  as  safely  as  you 
would  a  compact. 


Chance  in  the  Movies-/*^  27 


The  Most  Daring  Book, 
Ever  Written! 


Elinor  Glyn,  famous  author  of  "Three  Weeks,"  has  written  an 
amazing  book  that  should  be  read  by  every  man  and  woman 
— married  or  single.  "The  Philosophy  of  Love"  is  not  a  novel 
—it  is  a  penetrating  searchlight  fearlessly  turned  on  the  most 
intimate  relations  of  men  and  women.  Read  below  how  you  can 
get  this  daring  book  at  our  risk  —  without  advancing  a  penny. 


\X  7ILL  you  marry  the  man 
V  "  you  love,  or  will  you  take 
the  one  you  can  get? 

If  a  husband  stops  loving  his 
wife,  or  becomes  infatuated  with 
another  woman,  who  is  to  blame 
— the  husband,  the  wife,  or  the 
"other  woman?" 

Will  you  win  the  girl  you  want, 
or  will  Fate  select  your  Mate? 

Should  a  bride  tell  her  husband 
what  happened  at  seventeen? 

Will  you  be  able  to  hold  the 
love  of  the  one  you  cherish — or 
will  your  marriage  end  in  divorce? 

Doyou  know  how  to  make  people  like  you? 


Do  you  know  how  to  re- 
tain a  man's  affection  always? 
How  to  attract  men?  Do  you 
know  the  things  that  most  irri- 
tateaman?  Or  disgust  awoman? 
Can  you  tell  when  a  man  really 
loves  you — or  must  you  take 
his  word  for  it?  Do  you  know 
what  you  MUST  NOT  DO  un- 
less you  want  to  be  a  "wall 
flower"  or  an  "old  maid"?  Do 
you  know  the  little  things  that 
make  women  like  you?  Why  do 
"wonderful  lovers"  often  be- 
come thoughtless  husbands  soon 
after  marriage — and  how  can 


IF  you  can  answer  the  above  questions — 
_  if  you  know  all  there  is  to  know  about 
winning  a  woman's  heart  or  holding  a 
man's  affections — you  don't  need  "The 
Philosophy  of  Love."  But  if  you  are  in 
doubt — if  you  don't  know  just  how  to 
handle  your  husband,  or  satisfy'your  wife, 
or  win  the  devotion  of  the  one  you  care 
for — then  you  must  get  this  wonderful 
book.  You  can't  afford  to  take  chances 
With  your  happiness. 

What  Do  YOU  Know 
About  Love? 

DO  you  know  how  to  win  the  one  you 
love?  Do  you  know  why  husbands, 
with  devoted,  virtuous  wives,  often  be- 
come secret  slaves  to  creatures  of  another 
"world" — and  how  to  prevent  it?  Why  do 
some  men  antagonize  women,  finding  them- 
selves beating  against  a  stone  wall  in  affairs 
of  love?  When  is  it  dangerous  to  disregard 
convention?  Do  you  know  how  to  curb  a 
headstrong  man,  or  are  you  the  victim  of 
men's  whims? 


What  Every  Man  and 
Woman  Should  Know 


-how  to  win  the  man 

you  love, 
-how  to  win  the  girl  you 

want. 

-how  to  hold  your  hus- 
band's love. 

-how  to  make  people 
admire  you. 

-why  "petting  parties" 
destroy  the  capacity 
for  true  love. 

-why  many  marriages 
end  in  despair. 

—how  to  hold  a  woman's 
affection. 

-how  to  keep  a  husband 
home  nights. 

-things  that  turn,  men 
against  you. 

-how  to  make  marriage 
a  perpetual  honey- 
moon. 

-the  "danger  year"  of 
married  life. 


— how  to  ignite  love — 
how  to  keep  it  flaming 
— how  to  rekindle  it 
If  burnt  out. 

— how  to  cope  with  the 
"hunting  instinct"  in 
men. 

— how  to  attract  people 

you  like. 
— why   some   men  and 

women  are  alwayslov- 

able,  regardless  of  age. 
— are    there    any  real 

grounds  for  divorce? 
— how  to  increase  your 

desirability  in  a  man's 

eye. 

— how  to  tell  if  someone 

really  loves  you. 
— things    that    make  a 

woman    "cheap"  or 

"common. " 


ELINOR  GLYN 
The  Oracle  of  Love" 

the  wife  prevent  it?  Do  you  know  how  to 
make  marriage  a  perpetual  honeymoon? 

In  "The  Philosophy  of  Love,"  Elinor 
Glyn  courageously  solves  the  most  vital 
problems  of  love  and  marriage.  She  places  a 
magnifying  glass  unflinchingly  on  the  most 
intimate  relations  of  men  and  women.  No 
detail,  no  matter  how  avoided  by  others, 
is  spared.  She  warns  you  gravely,  she  sug- 
gests wisely,  she  explains  fully. 

"The  Philosophy  of  Love"  is  one  of  the 
most  daring  books  ever  written.  It  had 
to  be.  A  book  of  this  type,  to  be  of  real 
value,  could  not  mince  words.  Every  prob- 
lem had  to  be  faced  with  utter  honesty, 
deep  sincerity,  and  resolute  courage.  But 
while  Madame  Glyn  calls  a  spade  a  spade 
— while  she  deals  with  strong  emotions 
and  passions  in  her  frank,  fearless  man- 
ner— she  nevertheless  handles  her  subject 
so  tenderly  and  sacredly  that  the  book 
can  safely  be  read  by  any  man  or  woman. 
In  fact,  anyone  over  eighteen  should  be 
compelled  to  read  ^"The  Philosophy  of 
Love";  for,  while  ignorance  may  some- 
times be  bliss,  it  is  folly  of  the  most  danger- 
ous sort  to  be  ignorant  of  the  problems  of 
love  and  marriage.  As  one  mother  wrote  us: 
"I  wish  I  had  read  this  book  when  I  was  a 
young  girl — it  would  have  saved  me  a  lot 
of  misery  and  suffering." 

Certain  shallow-minded  persons  may 
condemn  "The  Philosophy  of  Love."  Any- 
thing of  such  an  unusual  character  generally 
is.  But  Madame  Glyn  is  content  to  rest  her 
world  wide  reputation  on  this  book — the 
greatest  masterpiece  of  loveever  attempted ! 

SEND  NO  MONEY 

YOU  need  not  advance  a  single  penny 
for  "The  Philosophy  of  Love."  Simply 
fill  out  the  coupon  below — or  write  a  letter 
— and  the  book  will  be  sent  to  you  on  ap- 
proval. When  the  postman  delivers  the 
book  to  your  door— when  it  is  actually  in 
your  hands — pay  him  only  $1.98,  plus  a 
few  pennies  postage,  and  the  book  is  yours. 
Go  over  it  to  your  heart's  content — read 
it  from  cover  to  cover — and  if  you  are  not 
more  than  pleased,  simply  send  the  book 


Qhe  PHILOSOPHY 
OFLdVE 

hy  ELINOR  GLYN 

^/  Jbtk*rtf'ThruWe&s 


WARNING}.' 

The  publishers  do  not  care  to  send  "The  Phi- 
losophy ot  Love"  to  anyone  under  eighteen 
years  of  age.  So,  unless  you  are  over  eighteen, 
please  do  not  fill  out  the  coupon  below. 


back  in  good  condition  within  five  day 
and  your  money  will  be  refunded  instantly 

Over  75,000,000  people  have  read  Elino 
Glyn's  stories  or  have  seen  them  in  th« 
movies.  Her  books  sell  like  magic.  "Tin 
Philosophy  of  Love"  is  the  supreme  culmi 
nation  of  her  brilliant  career.  It  is  destine; 
to  sell  in  huge  quantities.  Everybody  wil 
talk  about  it  everywhere.  So  it  will  be  ex 
ceedingly  difficult  to  keep  the  book  in  print 
It  is  possible  that  the  present  edition  ma; 
be  exhausted,  and  you  may  be  compellei 
to  wait  for  your  copy,  unless  you  mail  th 
coupon  below  AT  ONCE.  We  do  not  sa; 
this  to  hurry  you — it  is  the  truth. 

Get  your  pencil — fill  out  the  coupoi 
NOW.  Mail  it  to  The  Authors'  Press 
Auburn,  N.  Y.,  before  it  is  too  late.  Thei- 
be  prepared  to  read  the  most  darinc  bool 
ever  written! 


The  Authors'  Press,  Dept.  263  ,  Auburn.  N.  Y. 

Please  send  me  on  approval  Elinor  Glyn's  master- 
piece. "The  Philosophy  of  Love."  When  the  post- 
man delivers  the  book  to  my  door.  I  will  pay  him 
only  $1.98,  plus  a  few  pennies  postage.  Itis  under- 
stood, however,  that  this  is  not  to  be  considered  a 
purchase.  If  the  book  does  not  in  every  way  come 
up  to  expectations.  I  reserve  the  right  to  return  it 
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the  postman  only  S2.98  plus  postage.   I  1 


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SCREENLAND 


SELF-CONCIOUSNESS 

ITS  CAUSES  AND  HOW  IT  CAN  BE  CURED 


%  SHORT  time  ago  I  was  interviewing 
•\  (on  a  matter  of  business)  the  Presi- 
J*-  dent  of  one  of  the  biggest  business 
cernsin  the  Middle  West.  In  the  course 
)ur  talk  there  was  a  timid  knock  on  the 
Er.  Responding  to  the  President's, "Come 
:'  the  door  was  slowly  opened,  and  a 
v  head  came  into  view. 
?his  gray  head  belonged  to  a  man  who 
learned  later)  had  been  employed 
!the  firm  for  over  thirty  years.  He  took 
a  matter  of  business  with  the  President, 
wering  promptly  every  question  put  to 
i,  but  in  a  peculiarly  timid  manner, 
fen  he  left  the  room,  the  President 
!i  to  me: 

'There's  a  beautiful  example  of  a 
n  gone  wrong;  I've  always  been  as 
:et  as  molasses  to  him,  but  he  acts 
if  I  were  going  to  bite  his  head  off. 
at  man  could  easily  earn  $20,000 
.ear;  he  could  be  one  of  the  best 
bwn  men  in  this  part  of  the  country; 
B  he  will  never  amount  to  anything 
l:ause  he  is  so  confoundedly  self- 
scious. 

'It's    what's    wrong    with  most 
>ple,"  he  reflected.    "They  are  too 
-conscious.     They    are   afraid  of 
;rything  and  everybody — yes,  even 
themselves.   There  isn't  a  man  or 
man  living  who  cannot  think  thoughts 
Irth  fortunes.  But  they  lack  the  spark  of 
F-confidence  which  makes  the  difference 
:ween  the  DOER  and  the  DREAMER. 
'That  man  who  was  just  in  here  really 
lows  more  about  this  business  than  I  do. 
5  judgment  is  better  than  mine.  But  he 
fldn't  run  this  business  for  a  month 
ause  he's  so  confoundedly  busy  thinking 
J,at  others  are  saying  or  thinking  about 
|o,  that  he  misses  the  main  point  of 
Ming  things  for  himself.    I  sympathize 
ith  him  deeply,  because  when  I  was 
ung,  I  was  very  much  that  way  myself, 
it  I  made  myself  get  over  it.  I  realized 
at  all  the  ambition  in  the  world— all  the 
owledge  in  the  world — can't  help  a 
•kin  if  he  is  everlastingly  apologetic,  shy, 

-conscious." 
f$How  true  that  comment  is!  Wherever 
m  go,  confidence  almost  always  counts 
ire  than  ability.  The  self-conscious  man 
n   never   do  himself  justice.  Before 
jperio'rs  in  business,  he  quails;  with 
ospective  customers  he  is  vanquished  by 
|e  first  "No";  in  the  presence  of  strangers 
I  retires  into  a  shell;  in  the  homes  of 
ltured  people  he  is  embarrassed  by  the 
"ghtest   word;   and   sometimes   in  the 
esence  of  one  of  the  opposite  sex,  he 
akes  the  proverbial  ass  of  himself. 
But  what  can  be  done  about  Self- 
msciousness?    What  is  it?    Can  it  be 
,lred?     James   Alexander,    an  eminent 
bglish   psychologist,   in   a  remarkable 
ork  called  "The  Cure  of  Self-Conscious- 
I  ss,"  points  out  not  only  that  it  CAN  be 
!?tred,    but    shows    exactly    HOW,  no 
atter    how    deep-rooted    the  trouble. 


By  Robert  W.  Beatty 

The  work  is  published  in  three  convenient 
pocket  size  volumes. 

Mr.  Alexander  analyzes  the  subject  of 
self-consciousness  in  all  its  elements;  he 
explains  all  the  psychological  causes  of 
self-consciousness;  he  then  analyzes  differ- 
ent ways  in  which  Self-Consciousness  is 
exhibited.  This  enables  the  reader  to 
analyze  himself  so  that  he  may  know 
what  phase  of  self-consciousness  to  attack. 
In  the  other  two  volumes  Mr.  Alexander 
then  gives  definite  exercises  by  which  any 
or  all  of  these  phases  of  self-consciousness 


$50  PAID  FOR  YOUR  STORY 

,_PHE  publishers  of  "The  Cure  of  Self- 
Consciousness"  want  authentic  anecdotes 
of  cases  where  Self-Consciousness  has  caused 
excruciating  embarrassment;  or  better  still, 
of  people  whose  careers  have  been  checked 
because  they  were  always  self-conscious 
and  timid.  $50  will  be  paid  for  each  story 
accepted  for  publication.  No  names  will  be 
given  in  -publishing  your  story,  if  it  is  accepted. 
Just  tell  the  facts;  they  are  more  interesting 
to  us  than  the  way  you  tell  them. 


may  be  permanent'y  removed.  A  partial 
list  of  the  chapter  headings  will  give 
but  a  hint  of  -the  value  of  this  work. 
The  author  deals  with  concrete  subjects 
like  these-: 

What  is  Meant  by  Self- Consciousness 

The  Causes  of  Self- Consciousness 

How  to  Cure  Fear  of  Self 

How  to  Cure  Fear  of  Crowds 

How  to  Cure  Fear  of  A  udiences 

How  to  Cure  Blushing 

How  to  Cure  Stammering 

How  to  Cure  Stuttering 

How  to  Cure  the  Fear  of  Ridicule 

How  to  Cure  Nervousness 

How  to  Cure  Fear  of  Stage  Fright 

How  to  Cure  Fear  of  Failure 

How  to  Cure  Fear  of  Criticism 

How  to  Cure  Fear  of  Company 

How  to  Cure  Fear  of  Business 

How  to  Cure  Fear  of  the  Unexpected 

How  to  Cure  Timidity 

How  to  Cure  Shyness 

How  to  Cure  Bashfulness 

How  to  Check  Desires  and  Impulses 


How  to  Attack  Univelcome  Thoughts 
How  to  Control  the  Muscles 
How  to  Control  the  Emotions 
How  to  Use  Suggestion  and  A  uto- 

Suggestion 
How  to  Gain  Self-Reliance 
How  to  Gain  Self- Confidence 
How  to  Gain  Calmness 
How  to  Gain  Self-Possession 

Unlike  many  volumes,  dealing  with 
mental  training,  "The  Cure  of  Self- 
Consciousness"  is  not  dull  or  heavy. 
Neither  is  it  full  of  platitudes  or 
preachments,  telling  you  why  you 
should  cure  your  self-consciousness. 
On  the  contrary,  this  great  work  is  as 
interesting  as  a  book  of  fiction,  and  as 
direct  as  a  physician's  advice.  It  is 
extremely  easy  to  read  and  to  under- 
stand. Instead  of  preachments,  it  con- 
tains actual  rules  and  exercises  that  have 
cured  even  the  worst  forms  of  self- 
consciousness. 

It  is  impossible  here  to  give  a  com- 
plete description  of  all  this  work,  "The 
Cure  of  Self-Consciousness,"  contains. 
There  is  only  one  way  for  you  to  con- 
vince yourself  of  its  value  to  you:  that 
is  to  examine  the  three  pocket  size 
volumes.  This  the  publishers  are  willing 
to  have  you  do.  Send  no  money  now,  just 
the  coupon.  When  the  books  arrive,  pay 
the  mailman  only  $2.85,  plus  postage,  and 
then  read  them  10  days,  at  your  leisure. 
If  you  are  not  convinced  that  this  instruc- 
tion and  the  exercises  are  worth  hundreds 
of  times  the  price,  simply  return  the  set 
within  10  days  and  the  trial  will  not  cost 
you  a  cent. 

If  you  are  ever  embarrassed,  in  your 
business  prospects  or  in  your  social  life, 
by  paralyzing  attacks  of  self-conscious- 
ness, you  need  this  great  work  more  than 
anything  else  in  the  world;  no  price  would 
be  too  great  for  you  to  pay  for  it !  For  how 
can  a  price  be  put  upon  the  value  of  confi- 
dence, poise  and  perfect  ease?  If  you  want 
to  secure  a  set  I  suggest  that  you  address 
the  publishers. 


ROBT.  K.  HAAS,  Inc. 

Suite  184,  218  WEST  40th  STREET 
NEW  YORK  CITY 


ROBERT  K.  HAAS,  Inc.,  Suite  1S4,  2  IS  West  40th  Street,  New  York 

Please  send  me,  for  10  days"  examination.  Mr.  Alexander's  work,  in  three  convenient  pocket 
size  volumes,  "  The  Cure  of  Self-Consciousness."  I  will  give  the  postman  S2.S3  plus  postage,  on 
delivery.  If,  after  reading  and  studying  it  for  10  days,  I  want  to  return  it  for  any  reason  whatever, 
you  agree  to  refund  my  money. 


~1 


Marie  Prevost,  the  girl  on  the  cover,  gets  out  the  bathing  suit  which  made  her 
famous.  Marie  doesn't  have  to  use  any  bait— fish  catch  one  glimpse  of  Marie  and 
join  us  in  adoration. 


APRIL,  1925 

5>5>   


GJhz  dnjdoJfiQjTidQjrxt  Screen  cTRagaz'une 


VOL.  X,  NO. 


Eliot  Keen,  Editor 


CONTENTS 

Cover— Mane  Prevost.   Allisoncolor  by  Niekolas 
Muray. 

Ask  Me — An  Answer  Page  of  Information.  By 

Miss  Vee  Dee  4 

Behind  the  Screen  6 

A  Busy  Month  in  the  Movies  .     .     .  9 
Tom  Tebriss,  Director — A  Portrait    .     .  .10 
The  Most  Beautiful  "Still"  of  the  Month  .  11 
Buster   Keaton,   Dorothy   Dwan,  Kenneth 
Harlan — Portraits     .     .     .     .     .      .  .12 

Bebe  Daniels — A  Portrait   ......  13 

Such  is — Hollywood  14 

"The  Last  Laugh."    An  Editorial  by  Myron 

Zobel   .  .15 

His  First  Story  Earns  a  Fortune.    By  John 

Farrar   .     .     .  16 

"  Go  ! "  By  Grace  Frye  18 

He  Looked  Like  Hackathorne.    By  Neil  Mc 

Conlogue   .-  20 

When  Ronald  Colman  Kisses.  By  John  Eliot  .  22 
Rudolph  Valentino — A  Portrait  .  .  .  .24 
The  Friendly  Stars  of  Hollywood.    By  H.  B. 

K.  Willis  25 

Tom  Terriss,  Director  of  Destinies.    By  Rod- 
ney Hiekok    .  26 


for  APRIL 

A  Chance  in  the  Movies — SCREENLAND'S 

Bureau  for  the  Ambitious  27 

Rafts  of  Romance.  By  Gayne  Dexter   .     .  .23 

The  Frolic  of  the  Babies  30 

Before  They  Were  Famous    .     .     .  .32 

Mary  Philbin.    By  Marian  Smith  Minthorne. 

Ralph  Graves.   By  Dalcie  Rawle. 

Estelle  Taylor.    By  Mrs.  Bernard  Schneider. 

The  Pictures — A  Prose  Poem  35 

Babies  Bring  Beauty.  By  Delight  Evans  .  .  36 
New  Screenplays.  By  Delight  Evans  .  .  .38 
Some  New  Films.  By  Martin  B.  Dickstein  .  .  46 
' '  Beginners'  Chances  Never  Better. "  By  Jesse 

L.  Lasky    .   43 

Pre-Showing  of  Feature  Films  .  .  .  .  50 
What  the  WellJJressed  Sheik  Will  Wear   .  58 

Dramaland.   By  Myron  Zobel  60 

Gossip  from  Screenland.  By  H.  B.  K.  Willis  .  63 
They  Say.  By  Marion  of  Hollywood  .  .  .68 
Winners  in  the  $500.00  Prize  Contest  Offered 

by  Harold  Lloyd  70 

alleen  pringle  shows  the  springle  fashions. 

By  Nan  Fessenden    .......  74 


Published  monthly  by  Magazine  Builders,  Inc.,  at  236  West  55th  Street,  New  York,  N.  Y.,  U.  S.  A. 


T.  Thomas  Wood,  Pres.  Copyright  1924.  Trade  Mark  regis- 
tered. Single  copies  25c.;  subscription  price,  United  States 
and  Canada,  $2.50  a  year;  foreign,  $3.50.  Entered  as  second- 
class  matter,  November  30,  1923,  at  the  Post  Office  at  New  York, 
N.  Y.,  under  the  Act  of  March  3,  1879.  Additional  entry  at 
Printed  in  United  States  of  America. 


Long  Island  City,  N.  Y.  Permission  to  reprint  material  must 
be  secured  from  the  publishers.  General  Executive  and  Editorial 
Offices  at  236  West  55th  Street,  New  York,  N.  Y.  Western 
advertising  offices  at  30  North  Dearborn  St.,  Chicago,  111.;  1004 
Coca  Cola  Bldg.,  Kansas  City,  Mo. 

Giles  Printing  Co.,  New  York,  N.  Y. 


2 


SCREEN LAND 


a  whale  of  a  difference 
just  a  few  cents  maXe 


WANTED 


Railway  Postal  Clerks 
$1600  to  $2300  Year 

MEN  —  BOYS  IS  or  Over. 
Steady  work.    IVo  layoffs.    Paid  vacations. 
Common  education  sufficient. 
Travel — See  your  country. 
Many  U.  S.  Gov't  Jobs  open  to  women. 
Mail  coupon  today  —  Sl'RE, 


-•FRANKLIIV  INSTITUTE,  Dept.  A20S 
#  Rochester,  N.  Y. 

/  Sirs:   Send  me  without   charge  (1) 
I  Specimen  Railway  Postal  Clerk  Ex- 
'  amination  questions.  (2)  List  of  U.S. 
Government  jobs  now  obtainable.  (3) 
Send  free  sample  coaching  lessons. 


Name 
Addref 


Pointing  with  ^Pride 

'ihere  are  many  reasons  why  the 
motion  picture  business  is  the 
rth  in  magnitude  of  all  the  activi- 
|;  of  the  Americans.  But,  per- 
bs,  chief  of  these  reasons  is  the 
ladth  of  vision  of  the  men  who 
Ike  up  this  industry. 
[Chere  was  a  time,  a  few  years  ago, 
jen  mental  activity  was  identified 
Ire  or  less  with  the  advertising 
dness.  Perhaps  you  can  remem- 
f  when  "Sunny  Jim"  was  em- 
!zoned  upon  every  chimney  and 
jnk  wall  in  the  days  when  "all 

red  tape  was  on  the  box. ' ' 
The  advertising  fraternity  has  be- 
lae  rich  and  stolid.    The  men  of 
\.  movies  now  are  the  ones  with  the 
las— "the  old  pep,^'  and  they  are 

without  their  reward  at  that. 
;  We  read  that,  when  theatre  mana- 
irs  are  quivering  with  terror  be- 
use  of  the  concerts  on  the  radio, 
remained  for  the  ingenius  moving 
ture  theatre  proprietor  to  install 
.d-speakers  in  his  theatre  so  that 
I  patrons  now  can  enjoy  the  Victor 
J>era  Singers.    Few  home  equip- 
nts  equal  this  expensive  installa- 
m,  and  the  concerts  can  be  heard 
feh,  better  in  the  theatre,  so  that 
b  menace  has  become  an  ally,  and 
\  theatre  owner  proudly  announ- 
i; — "I  Have  the  Radio  Working 
r  Me." 

«..•"'■* 
'From  the  Pacific  Coast  comes  the- 
ory of  a  novelty  in  personal  ap- 
uranoes.  By  means  of  loud  speak- 
s  installed  in  movie  theatres,  Tom 
|x  by  radio  makes  a  "personal" 
pearance  in  all  the  theatres  play- 
;ig  his  film. 


^Emil  Jannlngs  as  "Nero"  in 
"Quo  Vadis." 


Literary  Assistance 

FOR  STUDENTS,  TEACHERS,  PUBLIC  SPEAKERS. 

Speeches,  Orations,  Addresses,  Essays,  etc.,  pre- 
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Words.  Markets  for  Literary  wares  suggested. 
F.  B.  CROSS,  STUDIO,  4553  Emerson  Ave.,  St.  Louis,  Mo. 


Screenland  is  the  one  motion 
picture  magazine  with  "The 
Spirit  of  the  Movies." 


SCREENLAND 


oney 


First-Class  Saxophonists  make  big 
money,  and  the  work  is  easy  and  pleas- 
ant. You  might  easily  become  a 
■wizard  like  Tom  Brown  or  Ross  Gor- 
man, or  a  great  record-maker  like 
Clyde  Doerr  or  Bennie  Krueger  or 
Joseph  C.  Smith.  $100  to  $500  weekly 
is  not  unusual  for  musicians  of  such 
ability  to  earn. 

Talk  about  Fun!  There  is  always  a 
good  time  for  the  Saxophone  player. 
It's  the  ideal  instrument  for  social 
entertainment.  It  is  a  key  to  social 
popularity.  At  parties,  everywhere, 
the  Saxophone  player  is  the  center  of 
attraction. 

Easy  to  Play  -  Easy  to  Pay 

The  Saxophone  is  the  easiest  of  all  in- 
struments to  play.  You  don't  have  to 
"study"  the  Saxophone  as  you  do 
other  instruments.  There's  no  prac- 
tice drudgery.  You  don't  have  to  be 
"talented". 

THREE  LESSONS  SENT  FREE  with  the  instru- 
ment start  you.  In  a  week  you  can  play  popu- 
lar airs. 

Besides  being  so  easy  to  play  -  we  make  it  very 
easy  to  pay  for  one  of  these  Buescher  Saxophones 
with  cur  simple  plan  of  deferred  payments. 
Play  and  earn  while  you  pay. 

"  M  FREE   SAXOPHONE  BOOK 

HI  -  Very  interesting.  Tells  all  about  the 
various  Buescher  Saxophones,  with  pictures 
of  the  famous  professionals  and  orchestras. 
Send  coupon  for  a  copy.  Afention  any 
other  instrument  in  'ohich  you  may  be 
interested. 

155 

Buescher  Band  Instrument  Co. 

Everything  in  Band  and  Orchestra  Instruments 

331  Buescher  Block         Elkhart,  Ind. 


Buescher  Band  Instrument  Co., 
331  Buescher  Block,  Elkhart,  Ind. 

Gentlemen: 

I  am  interested  in  the  instrument  checked  below: 
Saxophone.  .  .Cornet.  .  .Trombone.  .  .Trumpet. 
(Mention  any  other  instrument  interested  in) 


Name  

Street  Address . 


j  Town  State   .  | 


An  Answer  Page  of  Information 

Address:  Miss  Nee  Dee,  Greenland,  145  West  57th  Street,  N.  Y.  C. 


Alan  E.  Williams  {New  Maiden, 
Surrey).  So  you  look  for  the  pic- 
tures Muriel  Frances  Dana  appears 
in"?  It's  always  interesting  to  know 
what  the  English  fans  like.  Little 
Muriel  is  free-lancing  at  present. 
She  is  about  five,  very  blond,  very 
pretty  and  decidedly  clever. 

Elsicnore.  Four  of  the  best- 
known  scenario  writers  are  June 
Mathis,  Jeanie  Macpherson,  Bess 
Meredyth  and  last,  but  by  no  means 
least,  Frances  Marion.  Miss  Mathis 
with  First  National,  Miss  Macpher- 
son  is  Cecil  deMille's  right  hand, 
Bess  Meredyth  with  Metro-Goldwyn, 
and  Frances  Marion  is  contemplat- 
ing an  offer  of  $150,000  a  year 
from  Fox.  It's  a  great  game — 
when  you're  great. 

Edna  Ferguson.  "Why  be  a  three- 
minute  egg  in  a  .  hard-boiled 
world  ?  There 's  work  for  every 
single  one  of  us ;  it 's  just  a  matter  of 
finding  out  our  particular  niche. 
Alma  Rubens  heads  the  excellent 
cast  in  '"Is  Love  Everything?" 
Shipwreck,  storms  at  sea.  and  fights 
galore  all  help  to  make  this  a 
thrilling  picture. 

Inquisitive  {Rome,  N.  Y.)  Colleen 
Moore's  address  is,  at  the  moment, 
United  Studios,  Hollywood,  Cal. 
She  was  born  in  Port  Huron,  Mich. 
Colleen  has  a  perfectly  alive  mother 
and  father,  and  a  brother,  Clive, 


who  is  in  movies  sometimes,  t 
Her  name  was  Kathleen  Morris, 
and  now  she  has  added  McCorma 
— all  Irish,  bedad. 

Art-Ist.  Norma  Shearer  is  ab( 
twenty-two  and  was  born  in  M< 
treal.  Comparatively  a  newcon 
to  the  screen  she  has  made  raj 
strides  in  the  last  year.  Did  y 
see  the  clever  article  about  her 
February  SCREENLAND? 

Ann  Allen  (New  York).  Wr 
Rockeliffe  Fellowes  at  Lasky  S' 
dios.  1520  Vine  Street.  He  v 
born  in  Ottawa,  Canada,  in  18 
edticated  at  Bishop's  College,  Lt 
noxville,  and — although  he  1 
played  with  Mrs.  Fiske,  Gr; 
George,  etc.,  on  the  legitimate  sts 
and  commenced  movies  with  F 
way  back — he  is  only  just  getti 
the  screen  recognition  he  deserv 
Five  feet  eleven,  weighs  175,  a 
has  brown  hair  and  eyes. 

A  La  Rocque  Fan  and  Sim 
(New  Rochelle).  Rod  La  Rocqu 
next  picture  will  be  opposite  Glo: 
Swanson  in  "The  Coast  of  Folly 
and  Rod  says  he'd  rather  play  < 
posite  Gloria  than  any  one  else. 
Gloria  hadn't  just  recently  taps 
unto  herself  a  titled  Frenchman 
would  say  "Page  Pola. "  Succ< 
hasn't  spoilt  that  lad  one  bit.  a 
don't  you  believe  any  one  who  ss 
it  has.  Ask  anv  of  his  fellow  Laml 


*\\Alyce  McCormick,  the  beauty  contest  zvinner  from 
Nebraska,  in  her  first  screen  part.  With  Milton 
Sills  in  "I  Want  My  Ma-"' 


SCREENLAND 


tell  you  he's  every  bit  as 
nan  as  in  the  days  when  he 
]f  just  an  unknown  player.  He 
j;  born  in  Chicago,  has  dark  hair 
ill  eyes,  and  is  six  feet  high.  Un- 
i tried  so  far,  but — 
Jour  Girls  (Indianapolis)  Your 
h.  to  have  a  story  about  Manuel 
inada  has  been  passed  along  to 
,  Ed.  The  fascinating  Manuel  was 
|:e  upon  a  time  a  doctor  in  South 
iierica,  and  a  Grade  A  athlete 


Two  Wonderful  Books 

on  Film 

THE  TRUE  AND  ROMANTIC  STORY  OF 
HOW     AMERICAN     GIRLS     BECOME  STARS 


Hoot.  He  came  north  with  a  team 
amateurs  and  stayed  to  become 
jnovie  star.  Merely  changed  his 
'jle  of  play,  you  see.  Taller  than 
lentino  he  bids  fair  to  out-sheik 
i  sheik.  And  girls  what  a  torea- 
f  that  boy  is! 

flaymon  J.  Brandt  [Milwaukee). 
ien,  Raymon,  you'll  have  to  be 
l|e  explicit  as  to  your  require- 
Snts. 

Kathleen  [Borne,  N.  Y.)  You 
|jow,  of  course,  that  Betty  Comp- 
ji  married  her  director,  James 
uze,  and  has  set  out  to  live  "hap- 
ly ever  after."  Betty's  address 
Uhe  Lasky  Studios,  1520  Vine 
feet,  Hollywood,  and  the  "Locked 
|or"  is  the  picture  she  is  working 
|  at  time  of  writing.  Following 
jit  there  will  be  "New  Lives  for 
jd,"  in  which  she  will  star  with 
lallace  MacDonald  as,  her  leading 
fa.  Betty  has  bobbed  hair.  Ma- 
Wneen,  there  is  no  limit  to  the 
'jformation  I  can  give  you. 
Arthur  Sumber  [New  York).  Ad- 
jess  Tom  Mix,  Fox  Studios,  1401 

Western  Ave.  Herbert  Rawlin- 
|  and  Mae  Murray,  Metro-Gold- 
en, Culver  City,  Cal.,  and  Richard 
dmadge,  F.  B.  0.  Studios,  Melrose 
!id  Gower  Streets,  Hollywood, 
lariie  Chaplin,  1420  La  Brea  Ave., 
ps  Angeles.  You  omitted  to  en- 
ose  the  paper  you  mention.  Reply 

sent  direct  only  when  stamped 
Idressed  envelope  is  forthcoming: 
!  Dorothy  Tully  [Kenosha,  Wis.) 
bd  La  Rocque  has  mail  addressed 
j  Famous-Players  Lasky,  485  Fifth 
ye.,  New  York;  Richard  Barthel- 
ess,  565  Fifth  Ave.,  New  York; 
id  Harold  Lloyd,  5542  Santa  Mo- 
Ica  Blvd.,  Hollywood,  Cal.  So 
)w  go  ahead,  Dorothy,  and  tell 
jjur  favorites  what  you  think  of 
Item. 

Eddie  Mylod  (N.  J.).  You'll 
ive  to  write  to  Jacqueline  Logan 
!rect  for  her  photograph  as  we 
b  not  supply  these. 

Margaret  ,  Rogers.  The  little 
Peter  Pan"  girl — alias  Betty 
ironson — is  with  Famous-Players 
lasky,  Long  Island. 


THE 

TALMADGE  SISTERS 

NORMA— CONSTANCE— NATALIE 

By  Their  Mother,  Mrs.  Margaret  L.  Talmadge 
With  an  Introduction  by  Ellis  Parker  Butler 

32  Illustrations 
An  Intimate   History  of  the  World's  Most  Famous 
Screen  Family,  With  "Inside"  Advice  to  Other- 
Girls  Dreaming  of  Film  Careers. 

A  MODERN  FAIRY  STORY  THAT  HAPPENS  TO  BE  TRUE 

"A  book  that  will  be  of  more  than  average  interest  to  film  fans.  Attractively 
illustrated  with  pictures  of  the  sister  stars,  their  associates  and  scenes  from  their 
plavs  It  tells  in  readable  and  entertaining  manner  the  real-life  romance  whereby 
a  family  of  typical  American  girls  rose  from  humble  surroundings  to  fame  and 
fortune  within  a  few  years.    It's  a  modern  fairy  tale  that  happens  to  be  true. 

— Cincinnati  1  imes-otar 

Handsomely  Bound  in  Blue  and 
Gold  Decorated  Cloth  Cover 

Price  $2.00  Delivered 
Anywhere  in  the  U.  S.  or  Canada 


A  Veritable  Encyclopedia  of  the 
Moving  Picture  Art 

MOVING  PICTURES 

How  They  Are  Made  and  Worked 
By  FREDERICK  A.  TALBOT 


New  Edition,  Completely  Revised  and  Reset. 

Illustrations,  $3.50. 


Numerous 


It  tells  of  the  romances,  the  adventures,  the  great  preparations  of  marvellous 
ingenuity  and  the  hundreds  of  other  things  that  go  into  the  making  of  moving 
picture  plays.  It  shows  how  inventors  have  overcome  difficulties  up  to  ths  pres- 
ent status  of  the  business.  It  is  a  popular  account  of  everything  concerning  the 
subject — trick  pictures  and  how  they  are  produced;  pictures  in  color;  pictures 
that  move  and  talk;  the  making  and  costs  of  the  most  elaborate  "sets"  and  studio 
equipment;  the  risks  taken  by  photographers  and  players;  the  secrets  of  many 
sensational  climbing  and  jumping  feats;  what  the  audience  does  not  see  in  the 
most  daring  wild  animal  films,  and  a  great  many  other  inside  facts  the  "movie" 
patron  delights  in  knowing. 

Either  of  the  above  books  will  be  mailed  on  receipt  of  advertised  price  to  any 

address  in  the  world. 

SCREENLAND  MAGAZINE 

BOOK  DEPT. 

236  WEST  55th  STREET  NEW  YORK 


SCREEN  LA ND 


BECAUSE  OUR  NATIVE 
HAWAIIAN  INSTRUCTORS 
WILL  SHOW  YOU  HOW  5 

Be  the  Most  Popular  Member  of  Your  Set.  PIay*\What'll 
I  Do",  "Memory  Lane",  "Lazy".  All  the  latesongand 
dance  hits.  You  can  play  First  Selection  in  Half  an 
Hour  and  Harmonious  Chords  at  ONCE.  Entertain  your 
friends  Play  for  money.  Don't  be  a  wallflower.  Be  the 
Life  of  the  Party. 

FAMOUS  HAWAIIAN S  TEACH  YOU 
TO  MASTER  QUICKLY  THEIR  SE- 
CRETS OF  THIS  FASCINATING  MUSIC 

The  instructions  you  receive  from  such  world  famous  ex- 
perts as  Lawrence  Kalaluki,  Walter  Kolomoku,  Frank 
Ferera,  Carl  Seville  and  others  are  invaluable.  NO 
OTHER  Conservatory  can  even  begin  to  give  you  the 
expert  teaching:  and  knowledge  you  gain  through  us. 
ONLY  4  EASY  MOTIONS— to  learn  to  be  able  to 
play  any  music,  popular,  dance, -classical,  native  Hawai- 
ian Airs  or  old  time  melodies  and  hymns.  Just  think  of 
it!  You  need  never  have  read  a  musical  note  in  your  life. 
For  that  matter,  even  though  you  haven't  the  slight- 
est knowledge  of  any  musical  instrument,  we  guar- 
antee to  teach  you  to  play  just  like  native  Hawaiians. 

NEW  INVENTION 
MAKES  IT  EASY 
Our  method  is  so  sim- 
ple, plain  and  easy  that 
you  begin  a  piece  your  first 
lesson.  In  half  an  houryou 
can  play  it!  Thousands  of 
successful  students  prove 
this  to  be  true.  No  matter 
how  little  your  knowledge 
of  music  may  be,  you  can 
learn  to  playby  our  plain, 
easy  picture  method. 
COMPLETE  CONSERVATORY  COURSE 
You  get  52  complete  lessons  An  entire  conservatory 
course.  Nothing  is  omitted.  Success  is  assured.  Real 
Hawaiians  instruct  you.  This  is 
the  only  Conservatory  teaching 
Hawaiian  Guitar  exactly  as 
played  by  the  Hawaiians. 
It  is  your  good  fortune 
as  well  as  ours,  that  these 
Native  Masters  of  Hawai- 
ian Guitar  come  to  this  I 
Conservatory  to  teach. 
WE  FURNISH  YOU 
WITH  EVERY- 
THING*  When  you  en- 
roll as  a  student  in  this  con- 
servatory,  you  receive 
FREE  a  handsome,  sweet 
toned,  Genuine  Hawaiian 
Guitar— valued  at  $15.00—52  specially  arranged  lessons, 
as  well  as  all  the  necessary  Picks,  Steel  Playing  Bar,  etc. 
There  is  NOTHING  extra  lo  buy;  everything  furnished. 
Yours  Free!  We  mean 
it. There  are  no  strings  tied 
to  this  generous  offer.  You 
get  it  absolutely  free  as 
soon  as  you  enroll  for  our 
course  of  52  easy  lessons, 
taught  by  real  Hawai- 
ians. You  can't  possibly 
lose,  so  mail  the  coupon  at 
once  for  full  information. 

g&  GUITAR  WORTH 
^  $15.00.  Yes,  that  is  the 
price  charged  in  the  music  stores  for  these  beautiful 
Hawaiian  Guitars.  We  can  afford  to  give  them  away  free 
of  charge  to  every  pupil  because  we  manufacture  them 
in  huge  quantities  in  our  own  factory,  which  is  the/3sv 
largest  stringed  instrument  factory  in  the  world?. 
SWEET  TONED.  You  will  get  the  same 
haunting,  soothing,  plaintive  fascinating  tunes  t- 
that  the  real  native  Hawaiians  get  on  these  _^<£  * 
same  instruments.  Plays  any  kind  of  music.  $32$^  rj 
40,000  pupils  prove  all  our  claims  are  true.  J*^^^ 


SPECIAL  COURSES 


TEAR  OUT  AND  MAIL 


i~FIRST  HAWAIIAN  CONSERVATORY  OF  MUSIC,  Inc. 
B  Dept.  96  233  BVay,  (Woolworth  Bldg.)  New  York,  N.Y. 

8  Gentlemen:  Please  tell  me  all  about  your  FREE  HAWAI- 
I  IAN  GUITAR  offer,  and  all  about  the  course  of  lessons 
I  under  native  Hawaiian  Instructors,  by  your  patented 
I  picture  method. 

J  Name  

f  Local 

|  Address  

!  City  & 

'State  _  _  __  


Z3ehind  the  o/creei 

//  it's  whispered  on  Broadway 
it's  heard  in  Hollywood. 


OROTHY    MACKAILL  is 

popular  than  ever 
clays. 

Ever    since  she 


more 
these 


came 

back  to  New  York,  scene  of  her  stage 
success  in  musical  comedy,  to  be  one 
of  the  featured  First  National  stars 
in  the  east,  Dorothy  has  held  court 
at  the  Hotel  Algonquin  like  any 
queen.  But  lately  her  stock  has  ris- 
en so  high  that  she  has  practically 
no  competition.  Reason :  her 
colored  maid,  who  gets  '"presenti- 
ments" about  people.  The  maid 
looks  over  Dorothy's  friends  as  soon 
as  they  arrive,  and  then  tells  them 
mysteriously  what  is  going  to  hap- 
pen to  them — what  deals  to  put  over, 
dark  men  to  avoid,  and  so  on. 
And  nine  times  out  of  ten  her 
"presentiments"  are  correct.  She 
established  herself  forever  as  a 
mystic  beyond  compare  with  her 
mistress  when  she  told  Dorothy 
to  go  ahead  and  bob  her  hair. 
Dorothy  did — and  her  short  blonde 
crown  is  so  becoming  that  good  parts 
have  been  coming  her  way  and  she 
has  had  so  many  offers  to  make  pic- 
tures she  can't  keep  track  of  them. 


^Whenever  you  say  "Excuse 
Me,"  remember  Renee  Ado- 
ree.  She' s  the  pleasant  part 
of  Rupert  Hughes'  film.  Next 
in  "Parisian  Nierhts." 


HPhey  tell  an  amusing  one  on  M 
^  ton  Sills.  Seems  that  this  di 
tinguished  star  is  determined— a 
cording  to  report — to  share  with  ) 
one  the  stellar  publicity  in  his  pi 
tures.  Accordingly  when  he  was  ca 
in  the  title  role  of  The  Making 
0 'Halle y,  and  Dorothy  Mackaill  w 
given  the  featured  role  opposite  hi] 
and  a  newspaper  put  it  that  "Do 
othy  Mackaill  is  to  be  starred 
The  Making  of  Molly"— well,  jxi 
imagine  how  Milton  must  have  fel 
They  do  say,  too,  that  he  absolut 
ly  declines  to  have  any  close-u 
taken  after  five  o'clock  in  the  afte 
noon.  Oh.  dear ! 

/T^labA  Bow,  who  has  been  e 
^>  gaged  for  a  leading  part 
Ernst  Lubitsch's  newest  feature,  w 
doubtless  more  surprised  than'  ai 
one  else  to  learn  of  the  great  dire 
tor's  choice.  Clara  told  me  that  : 
sent  for  her  once  to  consider  her  f 
May  McAvoy's  role  in  Three  W 
men,  Clara  came  tripping  in.  I 
walked  up  to  her  and  stared.  Th< 
he  cupped  her  face  in  his  banc 
turned  it  this  way  and  that,  and 
nally  said:  "You  have  the  funnjc- 
face  I  ever  saw!" 

But  Clara  finally  got  the  job.  Ai 
it  takes  a  real  sense  of  humor  to  t: 
one  like  that  on  yourself. 


Myrtle  Stedhan  has  been 
the  east  for  several  wee 
now,  but  so  far  she  hasn't  worked 
single  clay.  She's  been  out  skoppi: 
to  spend  the  salary  that  she  g« 
regularly  whether  she  works  or  m 
Son  Lincoln  is  with  her,  and  lr 
such  a  big  boy  everybody  takes  k 
for  his  mother's  brother. 


Dorothy  Gish  isn't  making 
new  picture  right  now.  1 
she  could  be  working  hard  if  s 
wanted  to.  Cecil  deMille  wanted  1 
for  the  Lillian  Rich  part  in  The  O 
den  Bed,  and  one  deMille  role  us 
ally  leads  to  another.  Dorothy  sr. 
that  certainly  should  prove  she  h 
that  much-talked-about  sex  appe 
Rupert  Hughes  wanted  her  to  pi 
in  his  next  film  farce.  Marsh 
Neilan  asked  her  to  enact  the  let 


!  role  in  his  new  picture.  But 
lothy  isn't  ready  to  go  back  to 
k  just  yet. 

ecil  deMjlle,  by  the  way,  has  det- 
lely  left  Paramount  to  ally  him- 

and  all  his  staff  of  writers  and 
>rs  to  the  Producers-Distributors 
ociation,  for  which  he  will  pro- 
e  independently.  He  is  taking 
■i  him  such  stars  as  Leatrice  J oy, 
jl  LaRoeque,  Vera  Reynolds,  Julia 
fife;  and  his  entire  technical  and 
jrary  staff  including  Jeanie  Mac- 
i-rson  and  Beulah  Marie  Dix.  De- 
lle  came  to  New  York  with  the 
kitioii  of  embarking  for  Europe 

he  will  go  back  to  the  coast  now 
Ibegin  work  on  his  next  picture. 

and  Mrs.  deMille  made  a  great 
I  every  one  voting  him  as  f  ascinat- 

as  a  matinee  idol. 

. 

ifl-ARY  Hay  Barthelmess  is  go- 
!1  ing  to  dance  at  Ciro's,  a  smart 
bper-club,  with  Clifton  Webb  as 
Partner.  Clifton  was  the  angular 
jit  in  New  Toys.  Ciro's,  by  the 
fly,  was  the  scene  of  the  reconcilia- 
U  party  of  Dagmar  Godowsky  and 
f  ex-husband,  Frank  Mayo.  No, 
iy  aren't  going  to  resume  their 
Inance — their  reunion  is  purely 
[tonic.  They're  just  the  best  of 
iends. 

to  wonder  Alyce  Mills  looks  hap- 
I  py  these  days.  Who  wouldn't? 
e's  pretty,  only  nineteen — or  is  it 


SCREENLAND 

eighteen? — has  been  in  pictures  two 
years,  and  has  just  been  handed  a 
nice,  fat,  featured  contract  with  B. 
P.  Sehulberg.  Alyce  is  a  Pittsburgh 
girl  who  won  a  beauty  contest — and 
deservedly. 

ebe  Daniels  proved  the  stuff 
she  is  made  of  when  she  was 
taken  suddenly  ill  during  the  filming 
of  the  final  scenes  of  The  Crowded 
Hour.  She  had  a  high  fever,  and 
"the  grippe"  was  a  mild  term  for 
the  way  she  felt.  But  Kenneth  Har- 
lan, her  leading  man,  had  only  two 
more  days  to  spend  in  the  east.  So 
Bebe  clenched  her  teeth  and  told  her 
director  she'd  finish  her  scenes  with 
Harlan  in  time  for  him  to  make  his 
train.  She  did,  but  they  had  to  hold 
her  up  for  her  close-ups.  Watch  for 
those  scenes  in  The  Croioded  Hour; 
they'll  prove  what  a  good  actress 
she  is. 

Gloria  Swanson's  marriage  in 
Paris  to  the  Marquis  de  la  Fa- 
laise  was  the  talk  of  the  New  York 
rialto  for  weeks.  Photographs  of  the 
couple  from  Paris  show  him  to  be 
not  only  young  but  very,  very  hand- 
some and  also  distinguished.  And  it 
won't  be  long  before  New  York 
will  see  him  and  eventually  the  whole 
country,  for  he  is  to  be  his  wife's 
leading  man  in  her  current  picture 
— following  Madame  Sans-Oene — 
the  Cosmo  Hamilton  story  called  The 
Coast  of  Folly. 


Bfv  $6  a  Day 

taking  orders  for  Zanol  Pure 
Food  Products,  Toilet  Prepa- 
rations, Soaps,  Laundry  and 
Cleaning  Specialties  and  House- 
hold Supplies.    Nationally  ad' 
tised  from  coast  to  coaot.  N< 
Hold  in  fltorcs.   Fast  repeaters. 
Big  income  every  day.  Exclu- 
sive sale.  No  capital  needed 
Big  money  for  eparo  time. 

Ford  auto  absolutely 

Free  to  workers.  Write 
for  particulars. 

American  Products 

-|  ]  75  Imcrkao  Building,  Cincinnati,  Oh 


BERMUDA— 

Vacationist's  Paradise 

Only  2  Days  From  New  York 
SAILINGS   TWICE  WEEKLY 

From  New  York  Wed.  and  Sat. 
Via   Palatial  New  Twin-Screw  Oil- 
burning  Steamers 
"FORT  VICTORIA" 
"FORT  ST.  GEORGE" 
FURNESS  BERMUDA  LINE 
34  Whitehall  St.,  New  York 
or  Any  Local  Tourist  Agent 


UMiss  Evelyn  Pierce,  resting  after  her 
three  years'  struggle  for  Fame.  She 
lias  just  been  made  a  Baby  Star. 


400ROOMS^?HS 

together  with  many  other  comfort 
features  at  most  reasonable  rates. 

100  Rooms  at  $2.50  per  Day 
100  Rooms  at  $3.00  per  Day 
100  Rooms  at  $3.50  per  Day 
50  Rooms  at  $4.00  per  Day 
50  Rooms  at  $4.50  per  Day 

There  is  but  one  price  to  everybody. 
Rates  are  posted  in  each  room. 

Food  Service  the  Very  Best 
Club  Breakfast  .  .  $  .75 
Special  Luncheon  .  .75 
Table  d'Hote  Dinners  1.50 
Coffee  Shop  and  Tea  Room — 
Finest  in  the  city 

Conveniently  located  in  the  heart  of 
Indianapolis,  on  WASHINGTON  ST. 
(National  Trail)  at  Kentucky  Ave. 

HOTEL  LINCOLN 

R.  L.  MEYER,  Manager 
INDIANAPOLIS 


Ji 


8 


SCREENLAND 


Screenland's 

Directory  of  Studios  for 
ancing  Instruction 

Dance  For  Health  and  Happiness 


Consult    this  Directo 
for    instruction    in  t 
dances  of  all  a 
tions. 

Folk,  milita 
acrobatic,  soc 
and  fancy  danci 


Phone  BRYANT  8945 
for 

Modern  Sensational 
Stage  Dancing 
Stretching    and  Lim- 
bering Exercises 
143-5  W.  43rd  St. 
N.  Y. 
East  of  Times  Square 


B.  BERNARDI,  M.  D. 

Formerly    ballet     master     Breslau  Theatre; 
Solo   danseur,    Grand    Opera,  Paris, 
Royal  Theatre,  Munich 

Personal   Instruction   in    Toe,  Ballet, 
Oriental,  Spanish,  etc. 

Teachers'  Course  Children's  Classes 


Classes   now   training   for  forthcoming 
productions 

Students   of  approved   talent   are   offered  an 
intensive  course  on  attractive  terms 


SEND  FOR  BOOKLET 
M  West  75th  St.  New  York 

Telephone  Endicott  5144 


STAGE  DANCING 

TAUGHT  BY  THE  RECOGNIZED 
SUPREME  AUTHORITY 


JACK  BLUE 


U-233   W.   51*t  St. 


Circle  6136 


EMETERIO  GALI 

MODERN  ARGENTINE  and  FRENCH  TANGO 

Simplified  Method  of  Teaching 
Salist/ienics      Acrobatic      Spanish  Ballroom 

Lessons  can  be  given  at  your 
home  and  clubs. 
Studio,  151  West  57th  St„     New  York 
Telephone,    Circle  8495 


LA  SYLPHE 

BALLET  ::  ACROBATIC 
ORIENTALE 


and 


JAMES  R.  WHITTON 

DANCE  MASTER  TO  TEACHERS 
AND  PROFESSIONALS 

Pre-eminent  Specialist  in  Step  Dancing 

1658  Broadway,  Corner  51st  Street 
Telephone  Circle  10448        N.  Y.  City 


HERMANN   &  DEMUTH 

SCHOOL  OF  ACROBATICS 
1658  Broadway  Phone 
New  York  Circle  10319 


Mile.  LA  CHAPPELLE 

149  West  57th  Street 
New  York 

Thorough  training  in  the  artc_ 
ing,  all  branches, including  acrobatics 


'ELLE  I 

Phone  I 
Circle  1243 

rt  of  danc-  I 


CLIFF  JEROME 

formerly  of  "NED  WAYBURN  STUDIOS" 

Specializinq  in 

Sensational  STAGE  DANCING 

Special  Rates — $5.00  a  week 
A  professional  "specialty"  routine  every  week 

Studio    711,    1658  BROADWAY 
Phone  CIRCLE  9121  New  York  City 


Dance  for  Strength 


MARTIN  FERRARI 

Progressive  School  of  Dancing.     Special  feat 
for  Motion  Picture  Artists.     Instructions  in.  tt 
art  of  Mimeodrama  and  Pantomime. 

1658  BROADWAY,  NEW  YORK 
Phone  Circle  10455 


LOUIS  VEEC 

The   "Physi- Cultural"  School 
•Dancing,   srace,  poise,  Stage 

'  Physi-Cultural"    Classes  for 

clusively.    $3  monthly. 
1446  Broadway  at  41st   St.,     N.  Y,  Clt 


HIO 

chool 
%e  Arts. 

girls  e 


SPANISH  DANCING 
Taught  by 
AURORA  ARRIAZA 

637  Madison  Ave.  New  York 

Cor.  59th  St.  Tel.  Regent  7348 


JOHN  BOYLE 

324  West  42nd  St.,  N.  Y. 
Tel.  Penii.  4733 
The  Dance  Master  who  starts  in 
where  all  the  others  leave  oft. 

All  styles  taught.  Pupils — Fred 
Stone,  Frances  White,  Wellington 
Cross,  Tom  Patricola,  Hal  Skelly, 
Ida  May  Chadwick,  Tom  Dingle, 
Chester  Fredericks,   Olin  Howland. 


MR.  and  MISS 

DuryeA 

Tuition  in 
DANCE  CALISTHENICS 
BALLET    and    BALLROOM  DANCING 

Teachers   of   Teachers  and  Lay 
Students 

BALLROOM    HOTEL    DES  ARTISTES 

 1  West  67th  St.,  New  York 


RUDOLPH  VALENTINO  was  taught  the  A, 
gentine  Tango  by  the  famous  DON  LENO,  bal 
room  stage  117  W.  48th  St.,  N.  Y. 
BRYANT  1194  Est.  20  Year 


Specializing  in  Acrobatic  Instruction  J 

For   Sensational  Stage  Dancing 

COLE  STUDIOS 

Illustrated  Book,  $1.25,  Cash  or  M.  O. 

Course  contains  Sensational  Acro- 
batic Dancing,  Buck  and  Wing,  Bar 
and  Stretching  Exercises.  Mile  Amy 
Mantova  and  Eddie  Russell,  both 
formerly  New  York  Hippodrome, 
are  now  with 

GEO.  COLE  STUDIOS 

249  West  48th  ST.,  NEW  YORK  CITY 
Phone  Chickering  2435 


LENORA^ 


STYLES 
DANCING  TAUGHT 


PUPILS  PLACED 

STUDIO   310 — 1658  B'way,  N. 
Circle  3127. 


Y. 


cade 
anting 


Our  instruction  in  Spanish  Dancing 
and  Fado  Portuguez  is  unrivalled. 

Specialists    in    genuine    Tango  Argentino 
( Tango  Milonga) . 
Classic,  Ballet  and  Toe  Dancing.     Limbering  and 
Stretching  Exercises.    Apache,  Character,  Oriental 
and   Greek  Dancing.     Private   or   Class  Lessons 
Classes  in  SPANISH  DANCING  daily  from 
12  to  1.     Evening  Classes  for  business  girls 

JUAN  de  BEAUCAIRE,  Director 

173  Madison  Avenue    (34th  Street) 
Telephone  ASHland  2059  New  York  City 


ftPR  15  "25 


SYD 
ft  CHAPLIN 
Fixed  in  your 
mind  as  the  sol- 
dier in  "The  Ren- 
dezvous,"  now  as 
"Charlie's  Aunt" 
sets  a  new  stand- 
ard for  comedy. 


REENLAND 


PRIL  1925 


^Pictures  of  the  ill-fated  expedition  to  Mount  Everest 
have  just  reached  America.  Films  of  this  character 
make  of  the  motion  picture  an  art  of  incomparable 
grandeur,  a  scroll  on  which  the  greatest  of  our  age 
leave  their  mark.  . 

If  you  would  learn  of  a  brave  gesture,  which  is 
utterly  self-sacrificing  but  at  once  inspiring  and  up- 
lifting, see  if  you  possibly  can  this  Mount  Everest  film 
find  look  well  upon  the  faces  of  Mallory  and  Irvine. 

If  your  particular  mountain  seems  inaccessible  you 
will  gather  courage  from  this  film. 


RAYMOND 
GRIFFITH 
IJ  You  have  seen  him 
in  we  11 -played 
small  parts.  This 
month  he  emerges 
as  one  of  our 
greatest  comedians. 


USY     MONTH   in  the  MOVIES 


MARY  ASTOR 

f^A  beautiful  and  ex- 
perienced actress  be- 
comes the  "First 
Leading  Lady  of  the 
Lan  d"  opposite 
Douglas  Fairbanks 
in  "Don  Q." 


lis  w 


\ 


^Millard  Webb,  directing  the  anniver- 
sary scene  in  "My  Wife  and  I"  for 
Warner  Bros. 


Such  is — 

Hollywood 

The  Home  of  Opportunity 


Many  a  wife  hurries  through 
her  housework  in  order  to 
dance  through  the  afternoon 
as  a  picture  extra  at  $7.50 

f§  Colleen  Moore       .  / 

\s  "saiiy.''      per  clay. 

11 


Buster  Keaton 


Buster's  next  picture, 
"Seven  Chances,"  is  to 
be  in  colors. 


Photograph  by 
Melbourne  Spurr 


Dorothy  Dwan 

^With  Larry  Semon 
in  "The  Wizard  of 
Oz,"  and  also  ivith 
him  in  "Matrimony." 


Kenneth  Harlan 

His  next  picture  will 
be  "Two  Shall  Be 
Born" — Vitagraph. 


Photograph  by 
Melbourne  Spurr 


Photograph  by  Melbourne  Spurr 


Bebe  Daniels 

After  "The  Crowded  Hoar"  her  tie 
picture  will  be  "The  Manicure  Girl 


etween 


hots 


«$Tom  Terras  talks  with  Renee  Adoree.  A  very  good  picture  of  the 
great  director  who  helps  others  and  who  has  offered  to  give  a 
Screenland  girl  her  chance. 


The  Last  Laugh 

By  Myron  Zobel 


I AST  night  we  saw  and  applauded  "The  Last  Laugh," 
and  we  agree  with  the  rest  of  you  who  have  seen  it 
■^*that  it  is  a  wonderful  film. 
The  director  of  the  picture  was  F.  W.  Murnau,  the  chief 
actor  was  Emil  Jannings,  and  the  film  we  understand  was 
made  in  Germany.  But  before  you  let  your  not  unnatural 
antagonism  against  a  late  enemy  spoil  your  point  of  view, 
let  us  correct  this  statement. 

This  picture  was  not  made  in  Germany ;  it  was  made 
in  the  realm  of  art. 

It  is  the  work  of  an  earnest  student,  a  director  who  was 
willing  to  study  the  masters.  For  example, — the  stereoptic 
effect  first  obtained  in  Italy  and  shown  in  "Cabiria."  The 
misty  effect  Mr.  Griffith  employed  in  "Broken  Blossoms.'7 
The  delicacy  and  thread-like  plot  of  the  Russian  Chekhov. 
An  0.  Henry  twist  in  taking  pity  on  the  character  at  the 
last.  In  fact,  from  Pathe  in  France  to  our  own  deMille/ 
many  influences  can  be  seen  in  this  film. 

And  why  not?  The  story  makes  American  audiences 
and  German  audiences  laugh  alike  at  the  old  man  whose 
greatest  pride  is  in  his  uniform,  and  the  German  audience 
to  weep  with  us  at  the  tragedy  of  the  old  man  who  has  lost 
his  uniform.  What  better  evidence  is  there  that  audiences 
all  over  the  world  are  brothers,  that  Tolstoy  said  truly,  "Art 
is  a  means  of  union  among  men"? 

If  Woodrow  Wilson  had  lived  to  view  "The  Last  Laugh" 
would  he  not  have  felt  that  his  efforts  toward  universal 
brotherhood  had  not  been  in  vain,  that  the  cooperative  spirit 
of  these  motion  picture  artists  is  a  definite  step  forward 
toward  that  idea  of  the  league  of  all  men,  of  all  nations, 
for  which  he  sacrificed  his  life? 


/l  RST  q/toRY 


\John  F  a  r- 
rar,  biogra- 
pher of  Cy- 
ril H  u  m  c, 
a  n  d,  inci- 
dentally, 
editor  of 
The  Book- 
man. 


%Mr.  and 
Mrs.  Cyril 
H  u  m  e  at 
their  villa 
in  Italy, 
where  the 
author  of 
"Wife  of  the 
Centaur"  is 
writing  a 
n  e  iv  book, 
and  Mrs. 
Hume  is 
writing  ver- 
ses on  love. 


tdden  and  great  financial  success 
seldom  comes  to  the  young  literary 
man  in  any  country,  at  any  time  m 
the  world's  history;  but  in  these 
days  the  possibility  of  a  small  fortune  ac- 
cruing to  the  writer  is  greater  than  ever 
before.  This  fact,  however,  does  not  dim  the 
romance  of  actual  accomplishment.  When 
Cyril  Hume  found  himself  with  twenty-five 
thousand  dollars  in  his  pocket,  a  name  al- 
ready made,  and  a  career  secure,  it  was  a 
surprise  worth  having.  It  would  have  been 
a  surprise  for  any  young  man  of  twenty- 
three,  and  many  a  man  years  older  than  that 
The  author  of  "Wife  of  the  Centaur,"  and  of 
a  second  novel,  "Cruel  Fellowship,"  had  not 
stumbled  blindly  into  fortune,  however.  Few 
people  do,  and  certainly  not  m  the  literary, 
or  dramatic,  or  motion  picture  world.  It  is 
my  opinion  that  well-directed  hard  work  is 
the  onlv  recipe  for  success  anywhere.  You 
mav  say  that  hard  work  is  not  always  re- 
warded'as  was  young  Hume's.  Quite  true; 


16 


\John  Gilbert  as  the  Cen- 
taur, and  Ailcen  Prin- 
gle — not  the  Wife  of  the 
Centaur. 


\The  Italian  home  of  Cyril 
Hume,  the  Villino  La  Massa 
at    Candeli,    near  Florence. 


but  that's  the  way  to  go  out  after  luck. 
Luck  will  not  come  to  you ! 

"Cy"  Hume,  as  he  was  called  at  Yale, 
does  not  look  like  a  poet.  He  is  tall,  well- 
built,  with  light  hair,  and  a  moustache,  and 
with  a  complexion  that  inclines  to  be  ruddy. 
At  college  he  was  not  what  might  be  termed 
a  quiet  youth,  yet  no  one  thought  of  calling 
him  wild.  Just  an  ordinary  undergraduate, 
who  studied  as  much  as  he  needed,  and  who 
played  all  lie  could.  He  was  a  freshman 
when  I  was  a  senior,  and  I  remember  very 
well  his  manuscript  poems,  handed  in  for 
publication  in  the  "Lit."  Good  poems,  too, 
but  overshadowed,  somewhat,  by  the  brilliant 
work  of  his  good  friend  Stephen  Vincent 


Benet,  then  a  junior.  Benet,  by  the  way.  will 
soon  break  into  the  motion  pictures.  First 
National  are  at  work  now  on  his  story, 
"Uriah's  Son,"  to  be  called,  he  will  tell  you, 
with  a  quiet  smile,  ''What  Every  Woman 
Desires."  Hume  and  Benet  were  great 
friends.  They  were  members  of  the  same 
fraternity,  Alpha  Delta  Phi.  and  later  of  the 
same  honorary  senior  society.  Wolf's  Head. 
It  was,  in  fact,  from  a  poem  of  Benet's  that 
Hume  conceived  the  idea  for  his  first  novel 
— he  quotes  it  in  the  course  of  the  story — 
and  it  is  to  Benet  that  he  dedicates  his  new 
book. 

About  this  time,  the  Y;;le  "Lit"  was 
producing  many       (Continued  on  pae/e  93) 


li Cyril  Hume  who 
•wrote  his  Centaur 
story  in  three 
months,  two  years 
ago,  when  he  was 
twenty-one . 


17 


F — - 


Martha  Sleeper,  fourteen  years  old,  is  off  - 
to  a  flying  start.      Stage  training  is  no 
longer  essential  to  a  screen  player.  To- 
day they  cut  their  teeth  on  celluloid. 

By  Grace  Frye 

st  now  the  fate  of  the  old-school,  stage-trained  motion  picture 
star  seems  to  rest  in  the  laps  of  the  Gods. 

And  if  the  Gods  stand  up  ?    Well,  nothing  very  serious  will 
happen ;  because  the  new  star  brand  of  1925  is  eagerly  waiting 
to  replace  the  old-timers  as  they  fall. 

Unadulterated  screen  training  has  this  new  generation,  for  most 
of  them  have  grown  up  knowing  only  the  motion  picture  angle,  and 
with  the  single  ambition  of  qualifying  for  the  screen. 

Doubtfully,  dubiously  and  sometimes  desperately  have 
famous  actors  and  actresses  left  dramatic  careers  m  the  spoken 
drama  to  enter  the  new  field  of  motion  pictures.  But  always, 
always  they  brought  Avith  them  their  stage  background.  Con- 
sequently they  had  much  to  unlearn  before  they  became  cam- 
era trained. 

Today  future  stars  step  directly  from  the  school  room, 
with  nothing  to  unlearn,  and  everything  to  learn. 

Blank  little  minds,  if  you  please,  but  the  more  filled  with 
screen  possibilities  because  of  this  fact. 

Fourteen-year-old  Martha  Sleeper  is  an  outstanding  exam- 
ple of  what  can  be  done  with  the  flexible,  unafraid  mind  of 

youth  that  has  no  inhibiting  handi- 
cap of  traditions  and  background. 

Half  of  her  time  is  spent  in  study, 
and,  like  Chaplin's  wife,  she  has  a 
private  tutor.  In  this  regular  school 
curriculum  she  is  making  above-her- 
age  grades,  and  from  what  they  tell 
me  at  the  Hal  Roach  studios  she  is, 
at  the  same  time,  easily  making  the 
necessary  picture  grades  that  lead  to 
stardom. 


\Martha  in  fancy  dress 
costume  for  an  ordinary 
day's  ivork  on  the  Hal 
Roach  lot. 


r\The  business  of 
being  successful  in 
the  mo-vies  some- 
times requires  the 
screen  player  t  o 
be  quite  dumb. 


*lTo  be  able  to  ap- 
pear "in  charac- 
ter" is  as  essen- 
tial as  it  is  to  ap- 
pear beautiful. 


18 


It  was  interesting  and  enlightening  to  inter- 
view this  child-woman  of  many  moods  and  faces. 

<:  You  see,  I've  wanted  to  act  ever  since  I  start- 
ed deep  thinking,"  she  began  seriously.  As  she  looked  all 
of  twenty-five  and  was  dressed  for  that  age,  I  had  to  remind 
myself  forcibly  that  she  was  but  fourteen  before  I  managed, 
equally  serious,  to  ask  just  when  that  was. 

"Oh,  when  I  was  'most  six,"  she  complacently  answered. 
"Before  that  I  lived  on  a  sheep  ranch  in  Wyoming  and  my 
daddy  taught  me  to  ride  and  swim 
and  not  to  be  afraid  of  anything. ' ' 

"Wouldn't  you  know  that  she 
was  brought  up  out  of 
doors  by  her  physique  ? ' ' 
pridefully  interrupted 
Mrs.  Sleeper,  who  is  an- 
other of  those  vigilant, 
screen  pal-mothers. 

Appraisingly  I  sized 
up  Martha's  slim,  ath- 

(Co)itiniied  on  page  90) 


r  Martha  Sleeper  and 
Charlie  Chase  in  ''The 
Rat's  Knuckle."  What 
fun  it  must  be  for  this 

child  "to  pretend!" 


rLittle  Martha 

Sleeper  overcomes 
the  decrepitude  of 
her  age  by  daily 

exercise. 


rMartha  S'eepef 
— miserable  and 
unhappy.  This  is 
indeed,  actina. 


He  ofoOKED 


like 


omehow  I  am  of  the 
opinion  that  George 
Hackathorne  clubs 
about  with  a  circle 
the  weightest  handed 
wallopers  in  the  "West.  I  got 
the  thought,  and  a  resounding 
thump  on  the  back,  one  after- 
noon while  strolling  down 
Broadway,  Los  Angeles 

"Hello!"  (smack)  '  Geor- 
gie ! "  My  cigarette  went  half 
way  back  into  my  mouth,  coins 
danced  about  in  my  pockets, 
and,  I  would  vow,  the  new 
gold  inlay  jolted  from  its  ce- 
ment moorings. 

"Quake  —  or  collapse  of 
the  Hamberger  Department 
Store?"  I  gasped.  However, 
I  faced  my  plain  and  fancy 
back  breaker,  expecting  to  see 
either  "Bool"  Montana,  the 
Australian  woodchopper,  or 
perhaps  Jack  Dempsey  him- 
self. 

About  to  wave  my  'kerchiet 
—in  abject  truce— the  hand 
that  racked  my  eye-teeth 
reached  out  and  took  my  limp 
and  palm-perspiring  paw  and 
smiled : 

"Great  Scott,  old  man!— 
I— I'm  mistaken — I  thought 
you  were  George  Hacka- 
thorne—  " 

The  speaker,  a  well  known 
leading  man,  whom  I  recog- 
nized at  once,  apologized.  I 
cast  him  a  feeble  smile,  and 
registered  a  startled  and  sur- 
prised acceptance: 

"Mea  culpa,  mea  culpa,"  I 
smiled  and  gently  struck  my 
chest. 

"No!"  insisted  the  actor, 
"the  fault  is  all  mine,  for, 
really,  a  second  glance — why. 
you 'don't  look  like  Hacka- 
thorne." 

Had  I  listened,  rather  di- 
gested this  man's  true  obser- 
vation,' the  Washington  Dis- 
trict jail  would  not  be  my 
present  address.  And  numer- 
ous other  griefs  would  not  be 
hanging  over  my  head. 


Weil  McCori- 
logtte,  ivho  im- 
persona- 
ted George 
Hackathorne. 


OlIPPOSE  you  ivere  the  image  of 
^  some  movie  star  and  people  stared 
at  you,  could  you  resist  pretending  you 
were  really  the  famous  play  erf 

This  article  is  a  story  of  wrong-doing, 
but  the  guilty  adventurer  is  so  human? 
and  his  pleasant  personality  so  evident 
that  we  know  you  will  enjoy  it. 

The  other  evening  in  a  New  York  the- 
atre we  saw  a  familiar  neck  and  round 
head  in  front  of  us. 

"  That's  Wallace  Beery!"  we  ex- 
claimed.   And  it  was. 

It  is  remarkable  how  well  we  know  our 
friends,  the  actors. 

Neil  McC.o'nlogue  thought  he  could  im- 
personate George  Hackathorne,  but  he 
would  have  had,  as  much  chance  if  he 
had  tried  to  pass  himself  off  as  Mary 
Pickford. 

"To  err  is  human,  to  forgive  divine." 
We  are  sorry  for  you,  Neil,  and  we  can 
assure  you  this  story  of  yours  will  send 
thousands  of  kindly  thoughts  your  way 
to  beat  upon  the  bars  and  to  wish  you 
free,  but  more  than  all  to  wish  for  you 
in  the  future  the  understanding  which 
will  make  your  qualities  of  genius  work 
for  good. 


I  studied  Mr.  Hackathorne  -s 
likeness;  his  pictures  framed 
before  the  movie  palaces  drew 
my  scrutiny.  Once  I  sat 
through  an  entire  day's  show- 
ing of  "Judgment  of  the 
Storm,"  trying  to  catch  the 
actor's  expression. 

Returning  to  my  hotel  I 
consulted  the  mirror.  My  hair 
was  fashioned  after  the  cur- 
rent clipping — straight  tack. 
George  Hackathorne  split  his 
in  the  middle.  So,  aided  by  a 
glassy  unguentum  concoction, 
I,  too,  showed  a  bee-line  of 
scalp,  saying  to  my  looking- 
glass:  "Very  Hackathorny ! " 

Prom  the  actor's  photo  I 
caught  the  flagrant  differ- 
ence in  our  countenances.  The 
eyebrows  didn't  jibe;  so  I  up- 
rooted a  few  of  mine. 

"There!"  I  flattered  my- 
self, ' '  That 's  better ! "  It  was 
not,  and  cinematographically, 
parenthetically  speaking,  _  I 
was  entirely  out  of  the  pic- 
ture. The  motion  picture  art- 
ist and  this  biographer  resem- 
bled one  another  about  as 
much  as  an  exegesis  on  Homer 
does  a  school  girl*s  diary. 

However,  having  had  a 
modest  schooling  in  the  art  of 
make-up  while  a  vaudeville 
artist,  I  eventually  came  to 
the  stage  where  it  appears  I 
had  whipped  myself  into  a 
fair  shadow  of  the  man  it  was 
my  misfortune  to  try  to  im- 
personate. 

Right  here,  let  me  hasten  to 
add,  I  had  entirely  overlooked 
the  big  scene  in  the  perform- 
ance I  was  rehearsing — A 
Player's  Poise.  Overlooked  by 
me !  Careful  as  I  was !  Un- 
reckoned  with,  unrealized, 
most  likely,  was  that  manner, 
that  finish,  that  proper  bal- 
ance with  which  so  many 
motion  picture  artists  are 
blessed.  Maybe  they  win  it  on 
the  educational  rung  of  gram- 
mar, high-school,  college :  oth- 
ers,   I    presume,    attain  it 


20 


Hackathorne 


Neil  McConlogue,  from 
the  Washington  Jail, 
tells  his  own  story. 


through  the  changes  that  are 
visited  upon  them  by  their 
success  and  their  intellectual 
associates. 

However,  what  I  am  trying 
to  say  is — An  ugly  duckling 
might  be  "fancied  up," 
painted  to  apparently  the 
acceptable  color  and  degree  of 
the  more  sturdy  duckling, 
but,  once  he  waddles  to  the 
pond,  gets  in  the  swim,  the 
false  intention  is  at  once 
washed  off  and  he  is  easily  ex- 
posed. 

At  first  my  impersonation 
was  intended  as  a  lark.  I  had 
just  sold  a  series  of  short  sto- 
ries and  really  only  hoped  to 
get  incidents  enough  to  bol- 
ster up  a  long  story  upon 
which  I  was  working. 

Desirous  of  an  easy  begin- 
ning as  an  impersonator,  I 
chose  a  woman  wearing  thick- 
lensed  glasses  to  start  on.  We 
were  passengers  on  a  fast 
moving  train — both  enroute 
to  Salt  Lake  City.  The  wo- 
man sat  directly  across  the 
aisle  ;  the  Pullman  was  sparse- 
ly settled.  She  was  just  on  the 
outskirts  of  the  flirting  age ; 
and  I  had  to  try  out  my  act. 

"Care  to  peruse  a  maga- 
zine?" I  pushed  a  copy  of 
Screenland  toward  her. 

"No,  thank  you." — smile 
—  and  she  pointed  to  the  seat 
upon  which  lay  another  copy 
of  Screenland.  "But  we 
might  chat  about  the  con- 
tents," she  added. 

Ten  minutes  later,  soon  as 
it  seemed  apropos — I  was 
George  Hackathorne. 

"Just  imagine!"  she  de- 
clared— "meeting  a  movie 
star,  my  favorite,  and  in  this 
way ! ' ' 

Try  to  live  with  Cinderella 
her  journey  from  the  ash 
heap  to  the  slipper  episode,  in 
your  mind's  eye;  see  Cindy's 
beaming  countenance  at  the 
greatest  period  in  her  fanci- 
ful life,  and  you  have  a  fair 


ITMr.  Hackathorne  himself. 

%  George  Hackathorne  ivrites,  "I  did 
not  think  it  possible  for  anyone  to 
impersonate  a  screen-player.  I  suf- 
fered no  loss  through  Mr.  McCon- 
logue's  action,  and  I  had  nothing 
•whatever  to  do  'with  his  arrest.  I 
•would  like  to  compliment  him  on  his 
literary  talent." 


\George  Hackathorne  •with  Clara  Bom 
in  "Capital  Punishment."  It  is  a  co- 
incidence that  as  Neil  McConlogue 
goes  to  jail  for  impersonating  Mr. 
Hackathorne,  Mr.  Hackathorne  un- 
knowingly impersonates  Mr.  McCon- 
logue. 


idea  of  my  traveling  compan- 
ion's emotions  and  appear- 
ances. 

She  told  me  how  she  had 
first  seen  me  in  Mary  Pick- 
ford's  production  " Amarilly 
of  Clothesline  Alley."  Then 
she  came  down,  with  great 
satisfaction,  upon  fact — -"and 
in  'The  Little  Minister'  you 
were  splendid,  just  held  me 
fascinated ! ' ' 

^(Note  to  Mr.  Hackathorne  r 
Lord!  but  you'd  have  en- 
joyed   this — what    a  press 
agent  she'd  make  you!) 
And, ' '  she  went  on,  as  she 
removed  and  wiped  her  glass- 
es, "with  Mary  Philbin,  and 
Norman  Kerry,   in  '  Merry - 
Go-Bound'   you   were  posi- 
tively everything  one  hopes 
for  when  going  to  the  theatre. 
Now  I  want  to  see  you  in  a 
vehicle — starred,  you  deserve 
it!" 

We  lunched  in  the  train. 
Always  a  good  after-dinner 
speaker,  I  paid  the  check  with 
what  we  believed  to  be  future- 
star  nonchalance.  I,  no  doubt, 
fell  as  far  behind  in  this  as 
America  has  in  the  League 
idea ;  but  I  put  forth  my  best 
effort. 

At  Salt  Lake  City  I  beam- 
ingly accepted  the  lady's  ad- 
dress and  invitation  to  run 
over  to  the  house.  However, 
compromised  by  accepting  her 
motor  to  the  Utah  Hotel. 

In  the  barber  shop  of  the 
hotel,  while  the  tonsorial  mon- 
ologist  skipped  across  my 
whiskers,  a  blonde  manicurist, 
born  in  the  hue  of  a  brunette, 
noted  the  tailor's  tag  sewed  to 
the  inside  lining  of  my  coat — 
"Stitch'em  HOLLYWOOD." 

The  magic  word  Hollywood 
caught  her  eyes  like  a  piece 
of  red  flannel  will  a  bull  frog. 
And,  when  we  repaired  to  her 
sector,  'midst  the  powder  and 
shell  of  manicurial  maneuver- 

(Continued  on  page  86) 


21 


When 


ONALD 


OLMAN 


The  measure  of  a  man  is 


<|  The  Kilties — 
"The  Ladies 
from  Hell" 
numbered 
Ronald  Col- 
man  am  on  g 
them. 


ho  is  that?    He's  wonder- 
ful!" 

' '  That's  Column.  Didn't 
you  see  him  in  '  The  White 
Sister'?" 

"Oh,  is  he  the  one?  Who  is  he  any- 
way?" 

This  conversation  we   overheard  the 
other  night.   We  almost 
leaned  over  and  supplied 
the  information. 

This  is  who  Ronald 


Colman  is — 

In  the  mud  of  Hons  in  1914  Ronald 
Colman  learned  the  technique  of  motion 
picture  greatness. 

When  the  gallant  First  Hundred  Thou- 
sand of  England  were  dying  in  France 
before  the  war  was  our  war,  Ronald  Col- 
man, there  in  the  grim  and  hideous  set- 


There  is  an  "I-really  mean- 
it"  manner  to  Caiman's 
love-making  which  is  beau- 
tifully convincing. 


22 


KISSES 


By  John  Eliot 


the  manner  of  his  lovemaking 


f^Posed  by  Doris  Kenyon 
and  Ronald  Colman. 


\Colmaris  appeal  is  not  the  ruthlessness  of 
a  sheik,  nor  the  arrogant  tactics  of  the 
caveman.  He  is  a  lover  whose  every 
movement  seems  expressive  of  the  diffi- 
dence of  sincerity. 


tings  of  carnage,  learned  the  beauty  cf  devotion. 

These  were  the  early  days  of  the  Struggle.  Hel- 
mets "were  yet  to  be  worn,  tanks  were  unheard  of,  but 
in  the  mud  and  in  the  spatter  of  the  bursting  shells 
lay  War's  only  noble  product — there  were  MEN  there. 

In  such  times  thoroughness  comes  to  be  understood 
and  practiced. 

One  demon-sent  fiend-guided  piece  cf  lead  ai  last 
flattened  Ronald  Colman  in  the  mud  of  France.  Was 
it  then  that  his  brain  whirling  with  despair  and 
agony,  where  unrealities  were  as  easily  seized  upon 
as  realities,  that  there  came  a  vision  of  what  love- 
liness was?  Or  perhaps  the  wonder  of  a  woman  may 
have  shone  through  tired  lids  as  he  sensed  the  minis- 
trations of  the  nurses  at  the  hospital ;  perhaps  a  gentle 
hand  upon  his  matted  hair  opened  the  door  of  under- 
standing to  him,  the  understanding  of  the  worship- 
worthiness  of  women.  For  this  is  the  truth  that  Col- 
man knows. 

It  is  in  his  films  today.  It  pervades  every  character, 
every  scene  in  his  pictures. 

If  you  would  know  the  sincerity,  the  soul-tearing 
loyalty  required  of  a  soldier — sincerity,  the  technique 
of  cinema  greatness — go  you  to  see  Ronald  Colman 
make  love.  (Continued  on  page  84) 


24 


corner  in  the 
Harold  Lloyd 
room. 


IL1ILAND  is  full 


|  One  will  aluays 
find  a  group 
gathered  about 
the  fireplace  in 
the  Ruth  Roland 
room. 


^  ^RIENDLY 

TATARS  of 


o  f  friendly 
faces.  Though 
folks,  who 
should  be  wearing 
Mother  Hubbards  and 
hanging  over  back 
fences,  swapping 
juicy  bits  of  scandal, 
would  have  one  be- 
lieve otherwise. 
Thanks  to  newspapers 
with  a  weakness  for 
red  ink  and  scandal, 
every  incident  which 
can  be  made  a  peg 
upon  which  to  hang 
an  unfortunate  star's 
personal  affairs,  is 
capitalized  by  them. 
Consequently  visitors 
quarters  of  the  globe 
capital  the  center  for 
demimondaine  and  Parisian  tang 

And  what  a  jolt  they  get 
when  they  find  it  is  not  ! 

Tourists,  tin-can,  shoe-box 
and  other  varieties,  are  con- 


Hollywood 

By  H.  B.  K.  Willis 


f^Gamma  Chapter  House, 
Iota  Tan  Sigma  Fra- 
ternity, College  of  Os- 
teopathic Physicians  and 
Surgeons,  Los-  Angeles. 
Calif.,  f  u  r  ni  s  he  d 
through  the  generosity 
of  motion  picture  celeb- 
rities. 

to  Hollywood  from  all 
expect  to  find  the  film 
activities  with  strictlv  a 


q  Herbert  Raiv- 
linson  —  the 
boy  that 
started  it  all. 


{Continued  on  page  80) 


25 


FRRISK    %ire*tor  of 

l^ixixi  oo5    D esttntes. 

By    Rodney  Wichoh. 


qTom  Terriss  and  some 
of  the  successful  play- 
ers lie  has  brought  out. 


qA  I 

hou 
r'iss 
ery. 


ice 
n's 


Cal 
i  Ter 
tiscov 


ii^rrELL,  Chief,  there's  another  one  finished 
W    and  on  its  way  and  they  seemed  to  like 
it." 

Tom  Terriss  and  I  had  just  come  from  the 
initial  showing  of  "The  Bandolero"  which  Ave 
had  just  completed  in  Cuha  and  Spain,  and  we 
were  seated  in  a  couple  of  comfortable  chairs 

in  his  home  talk- 


«J  William  Col- 
lier, Jr.,  ivas 
picked  for  a 
part  in  "The 
Heart  of 
Maryland." 


q  Mr.  Terriss 
found  Percy  Mar- 
mont  for  the 
screen. 


({Famous  as  a  di- 
rector, Tom  Terriss 
is  almost  equally 
as  well  known  as  a 
discoverer  of  talent 


qRita  Rossi 
started  on 
ivay  in  "The  Ban 
dolero  " 


ivas 
her 


q  Conrad  Nagel  and  his 
daughter. 


ing  it  over.  We 
had  been  working 
very  hard  for 
several  months 
and  were  certain- 
ly glad  to  see  the  picture  finally  launched  in 
the  theatres.  We  usually  get  together  im- 
mediately after  a  first  showing  of  a  picture 
and  exchange  views  'about  how  we  think  the 
audience  enjoyed  it.  This  shewing  had  gone 
very  well,  and  Mr.  Terriss  was  feeling  very 
pleased  and  talkative ;  so  in  answer  to  my 
remark  he  replied, 

"Yes,  they  did,  Rod,  and  now  both  you  and 
I  can  take  a  nice  little  rest.  We've  certainly 
earned  it." 

The  Chief's  always  been  that  way.  When 
there  is  work  to  be  done  there  is  no  rest  for 
any  one  and  he  doesn't  ask  any  of  us  to  work 
any  harder  than  he  will ;  but  once  the  picture 
is  finished,  then  he  is  the  first  one  to  see  that 
we  get  a  rest  (Continued  on  page  771 


qBen  Lyon  got 
his  start  ivith 
Buster  Col- 
lier, above. 


Agnes  A  y  r  e  s' 
personality  as  an 
"extra"  convinced 
the  director. 


26 


HANCE 


m 
the 


OVIES 


If  you  want  to  be  a  movie 
star  here  is  your  opportunity. 
Register  your  picture  in 

SCREENLAND'S  BUREAU  for  the  AMBITIOUS 


M 


R.  Tom  Terriss,  well  known  director,  lias 
promised  that  he  will  go  over  all  of  the 
photographs  which  have  been  received 
prior  to  April  15,  and  that  he  will  select 
from  among  these  photographs  the  girl  who  seems  to 
|  have  the  best  qualities  for  movie  success. 

There  is  no  charge,  no  fee ;  it  is  not  even  necessary 
;  that  you  be  a  subscriber  of  Screenland.  Simply 
i  send  in  your  photograph  with  the  necessary  personal 
information  and  our  Opportunity  Editor  will  do 
the  rest. 

!     This  girl  whom  Mr.  Terriss  selects  will  neither  be 

endowed  nor  capitalized,  but  she  will  be  given  the 
\  opportunity  of  a  real  "part"  in  a  real  production — 

not  a  job  as  an  extra,  but  a  part  that  will  appear  in 
;  the  final  production  so  that  her  friends  as  well  as 

other  directors  and  producers  can  see  her. 

If  she  puts  herself  "over"  in  this  film,  she  will 

earn  her  chance  to  put  herself  over  in  future  films. 

THIS  IS  HOW  THIS  OFFER 
j  CAME  TO  BE  MADE : 

The  Editor  of  Screenland  had  com- 
missioned Rodney  Hickok  to  tell  the 
story  (which  you 
will  see  on  the 
opposite  page )  of 
the  uncanny  intui- 
tion which  Terriss 
has  exhibited  in 
recognizing  talent. 

"Do  you  think 
'[he  could  spot  such 


\Jacqueline  Logan,  a 
discovery  of  Tom 
Terriss',  surround- 
ed by  extra  girls. 


a  person  from  an  ordinary  still  photograph  ? ' '  we 
asked.  ' '  For  if  he  could  we  will  invite  our  readers 
to  send  in  their  pictures  so  that  they  may  have  the 
same  chance  that  the  girls  have  who  live  in  New 
York  or  Hollywood  where  they  get  into  the  line  of 
directorial  vision  by  appearing  as  extras." 

The  result  of  this  conversation  is  this  opening  of 
Screenland 's  Registry  Bureau.  Understand  that 
there  is  no  money  prize  attached ;  the  girl  chosen 
will  get  simply  the  regular  salary  for  a  bit  part. 
This  will  be  a  real  part,  not  an  "extra"  nor  "atmos- 
phere" role,  where  perhaps  a  dozen  share  the  same 
scene.    But  a  real  opportunity! 

Genius  has  conquered  the  world  with  less. 
These  are  the  rules  and  the  conditions  which 
govern  the  Registry  Bureau : 

For  convenience  in  examining  the  photographs,  a 
post  card  photo  is  preferred  (this  is  about  Zl/2  by 
^>y2  inches).    If  you  have  a  larger  picture,  cut  it 
down  if  possible ;  or  if  it  is  smaller, 
mount  it  on  a  card  this  size. 

On  the  back  of  the  photograph  you 
must  write :  1,  your  name ;  2,  your 
address ;  3,  your  weight ;  4,  your 
height ;  5,  your 
color ;  6,  your  na- 
tionality ;  and  7, 
very  briefly  any 
acting  experience 
you  may  have  had. 

You  may  send  as 
many  photographs 
as  you  wish,  each 
to  have  all  the  de- 
tails on  the  back. 


No  photograph  will  be  considered  which  is  received  after  April  15,  1925. 
Address:  Opportunity  Editor,  Screenland  Registry  Bureau, 
236  West  SSt/i  Street,  New.  York  City. 


27 


Gayne  Dexter  is  one  of  the  newly 


"1 


^Perhaps  i/ie  unusual 
success  of  "A  Thief 
in  Paradise"  ivas 
due  to  its  unpreten- 
tious launcliing  from 
a  pearl-diver' s  raft. 


~^\og  enwraps  New  York  tonight  and  from  my 
window  it  seems  the  city  has  sunk  into  a 
gray-blue  nowhere  and  all  the  world  is  sea 
one  hour  before  morning.  You  know  how 
that  misty  curtain  droops  until  day  tears  an  orange 
slit  far  east,  the  sun  thunders  up,  clouds  wither  and 
immense  blues  spread  placidly  above  waves  that 
raced  a  gale  yesterday,  their  white  manes  whipping. 
Now  they  smooth  into  wider  troughs,  and  wider,  to 
troop  a  good  half-mile  apart. 

Yesterday  a  ship  went  down  behind  the  last  hori- 
zon. A  raft  rides  the  ground-swell  now,  drifting  in 
indigos  or  floes  of  yellow  foam,  but  drifting  clear  and 
free.  So  chanty  with  the  foc'sle  gang — what's  left 
of  them— 


Posed  by  James 
Morrison  and  Ron- 
ald Colman. 


"Old  Stormalong  is  dead  and  gone 

To  me,  wa-ay,  Stormalong ! 
Old  Stormalong  is  dead  and  gone, 
Aye,  wa-ay  aye,  Old  Stormalong!" 
I  hear  them  through  the  wail  of  fog-horns  on  the 
Hudson.    They're  'way  out  where  the  movies  take 
us,  over  the  curves  of  the  earth,  out  where  the  jetsam 
ends.  I'd  like  to  be  there,  though  when  I'm  there  I 
want  to  be  here;  for  if  ships  are  she's,  rafts  are 
vamps.    They  keep  you  going,  guessing,  grasping  at 
hope. 

Wrecks,  derelicts,  life-boats,  canoes,  every  salty 
thing  but  rafts  I 've  written  into  fiction ;  yet  no  stage 
could  be  set  more  dramatically  than  with  three  spars 
lashed  to  barrels  against  backgrounds  of  enormous 


23 


arrived  writers.   His  typewriter,  rattling   like   wind-plucked   halyards,  sings  the  staccato  of  adventure  . 

Romance 


Among  all  the  varied  settings  of  drama, 
the  castaway  adrift  most  inspires 
our  imaginations. 

By  Gayne  fiexter 


f^Posed  by  Ramon 
Novarro  and 
Frank  Currier. 


<fl//  is  happiness  to 
improve  our  condi- 
tion, whether  out- 
lives are  tuned  to 
romance  or  unro- 
mantic  toil. 


f^Posed    by   J  a  c  k  i  e  Coogan. 

sea  and  sky.  Two  days  out  of  Pago  Pago,  the  island 
of  "Bain,"  we  picked  up  a  survivor  from  a  wrecked 
copra  ketch  trading  into  Apia.  Distantly  he  looked 
'  dead  upon  his  raft ;  he  had  been  there  five  days ; 
yet  some  of  him  lived  when  we  carried  him  aboard, 
and  all  of  him  by  the  time  we  loafed  into  Honolulu. 

"What  did  you  do?  Pray?" 
•  "No,"  he  tried  to  grin  with  lips  that  the  sun  had 
shrivelled.  "I  just  kept  on  hoping.  When  I  was 
as  far  down  as  I  could  be  without  shuffling  off,  I 
got  to  figuring  how  far  I  could  climb  back.  If  it 
hadn't  'a'  been  for  that  I'd  V  jumped  overboard 
1  for  comfort. ' ' 

There  was  the  hint  of  a  story  in  wondering  how 
far  he  would  continue  to  climb  with  safe  earth  be- 
neath his  feet.  A  beach-comber  down  in  Santos, 
Brazil,  supplied  one  ending.  The  "beach"  is  less 
picturesque  than  the  stars  who  inevitably  go  there 


in  close-ups  of  beautiful  whiskers  or  grass-skirts 
waving  to  the  breeze.  So  for  truth's  sake  I'll  pre- 
sent this  red-haired,  ragged,  pinga-soaked  Yank 
seated  on  the  Santos  dock  where  coffee  ships  load. 
He  wasn 't  thirty.  A  rough  bandage  held  his  broken 
foot  together.  He  whined  for  cigarettes  and  his 
hands  were  always  busy  beneath  his  filthy  shirt — 
scratching,  scratching.  A  ship  had  picked  him  up 
at  sea  a  few  months  before.  He  had  dreamed  mar- 
vellously, no  doubt,  climbed  back  with  wonderful 
ambitions,  which  differed  somewhat  now. 

"Buddy,  any  chance  o'  you  buying  me  three 
drinks?"  he  enquired,  hobbling  at  me.  He  got  them. 
That's  the  "beach." 

It  wouldn't  have  turned  out  that  way  in  movies, 
because  it  didn't  turn  out  that  way  when  we  were 
kids  and  our  treasure  island  was  a  mud  bank  in  the 
swimming  hole,  (Continued  on  page  77) 


29 


<$  N,  a  tali  e 
Joyce 
makes  her 
bow  to  the 
WAMPAS. 


\  Marilyn  War- 
ner was  there 
with  m  a  n  y, 
many  strings  of 
pearls. 


BAM! 

Hear  that  Jazz! 

What  a  jam. 
There  never  has — 

ZOWIE  —  ZING  — 

Hello,  Jim. 

Been  such  a  mob 
To  see  the  Babies 
I  say,  ladies 

BANG-! 

Hurry! 

There's  Murray! 

Hello,  Pola 

Hola 

Moses — 

Hear  that  Jazz ! 

What  a  roar. 

The  Ambassador. 

Is  some  sight 

Big  night. 

Hello,  Betty 

There's  Peter — 
Wantcha  meeta. 
Some  Frolic 
I'll  call  it. 
Oh,  Hello,  Sally. 
I'll  say  it's  rough, 
But  see  those  Babies 
Strut  their  stuff. 


THE  WAMPAS  FEOLIC 

Everybody  "in  the  movies"  was  there, 
at  the  Fourth  Annual  WAMPAS 
Frolic  and  Ball  held  early  in  February 
at  the  Hotel  Ambassador,  to  pay  homage 
to  the  thirteen  celluloid  sub-debs  selected 
as  Baby  Stars. 


When  ive  caught 
Earl  Williams  with 
a  copy  of  SCREEN- 
LA  N  D,  he  was 
rushed  before  the 
camera  before  he 
had  time  to  protest. 


OLIC 


DUi  the  first  of  the  year  the  Baby 
Stars  of  1925  were  announced.  A 
month  later  a  Frolic  tvas  given  at 
the  Hotel  Ambassador,  Los  Angeles, 
to  celebrate  their  ascension. 


•J  The  second 
it  took  to 
snap  this 
picture 
was  the 
only  one 
that  Made- 
line Hur- 
lock  spent 
alone  dur- 
ing the  en- 
tire e  t  fi- 
ning. 


^Olin  Hasbrouck  and  Max- 
me  Drearden  were  having 
a  rollicking  good  time 
when  they  were  persuaded 
to  "watch  for  the  birdie." 


The  floor  of  the  pavilion  was  crowded, 
the  paying  patrons  could  not  get  a  foot 
either  up  or  down,  the  placarded  celebri- 
ties in  boxes  at  the  sides  radiated  and 
scintillated,  and  then  all  the  Baby  Stars 
paraded — all,  that  is,  but  Anne  Cornwall 
who,  through  illness,  missed  her  triumph. 
Bert  Lytell  Avas  master  of  ceremonies,  and 
Charlie  Murray  Master  of  Mirth. 

Bxtradom  was  out  in  force.    And  who 
knows  but  what  the  girls  who  will  be  the 
Baby  Stars  of  1926  were  there  getting  tips 
for  next  year's  ceremonial  of  the  Western 
Motion  Picture  Advertisers'  Association. 

The  "Frolic"  could  only  have  been  "sprung"  by  movie 
people.  They  are  trained  to  be  without  self-consciousness  and 
each  has  the  poise  Avhich  comes  from  achievement. 

They  did  "strut  their  stuff"  but  it  was  the  stuff  that  will 
carry  the  art  of  the  movies  to  "Bigger  and  Better  Pic- 
tures. ' ' 


30 


B  I  E  S 


In  an  anteroom  at  the  Frolic, 
SCREEN  LAND  stationed  its 
camera.  And  one  by  one  the 
movie  great  danced  in  and  had 
their  pictures  taken  especially 
for  you. 


%Violet  Avon,  one  of 
the  "Bambinas,"  got 
this  pretty  little 
frock  to  celebrate 
the  occasion. 


f%  Betty  Aden  is 
a  starlet  too. 
We  t h i n k 
she'll  specia- 
lize in  danc- 
ing, don't  you? 


qMarcella 
Daly,  with 
all  her  airs 
and  graces, 
particular  I  y 
the  graces. 


Before  They  Were  Famous 

Stories  of  the  Yesterdays  of  the  Stars 

AARY  qP  HILBIN 


Bj/  yiarian  Sm/t/i  yimthorne 


flj  The  author,  danc- 
ing luith  Mary 
F hilbin. 


ary   Philbin,  the 
actress,    and  I 
were  dancing- 
partners,  school 
churns  and  playmates  as  girls 
in  Chicago,  and  there 's  noth- 
ing I  like  better  now  than 
to  tell  stories  about  her. 

If  you  had  known  Mary  as 
a  girl  there  would  have  been 
three  things  about  her  that 
you  would  have  noticed  es- 
pecially :  first,  that  she  was 
beautiful  in  a  simple,  unas- 
suming way,  with  lovely  long 
curls  that  were  the  envy  of 
all  the  other  girls ;  second, 
that,  while  she  is  even  now 
very  shy,  as  a  girl  she  was  actually  pain- 
fully bashful;  third,  that  she  lost  all 
nervousness  and  became  completely  at 
ease  whenever  she  appeared  on  the  dance 
floor  or  on  the  stage. 

Ahvays  on.  Friday  nights  after  school 
we  went  to  E.  Gladys  Price's  dancing 
school,  donned  our  dancing  togs,  and 
prepared  for  dancing  and  bar  work. 
We  were  always  eager  for  our  lessons, 
and  spent  hours  practicing.  On  the 
platform  sat  her  mother  and  mine,  watch- 
ing us  with  hopeful  eyes  for  signs  of  a 
second  Pavlova. 

The  music  begins,  Miss  Price  joins  in, 
' '  One,  two,  forward,  side,  one,  two, ' ' 
and  we  are  started  on  a  two  hours  Avork- 
out,  all  the  while  proving  ourselves  de- 
serving of  the  applause  from  the  scores 
of  boys  on  the  fire-escape. 

We  were  not  always  confined  to  this 
sort  of  dancing  but  were  given  a  chance 
to  show  our  talents  in  Danse  Divertise- 
ments  which  were  given  regularly  by 
the  school.  Mary  was  my  partner  as 
Pierrot  in  a  dance,  "Pierrot  and  Pier- 
rette," given  at  the  Lexington  Theatre 
one  night.  We  loved  these  chances  to 
appear  in  public. 


^Mary  F  hilbin 
wsith  Norman 
Kerry  in  "The 
Phantom  of  the 
Opera"  —  her 
greatest  part. 


f^Mary  Philbin,  on  her 
graduation  day  — 
curls  and  all. 


%And  as  she  is  today, 
the  dream  come  true. 


Mary  was  not  extremely  fond  of  outdoor  sports. 
Our  crowd  made  a  regular  daily  and  nightly  habit 
of  skating  on  the  ice  which  was  run  into  the  Midway 
at  Woodlawn  Avenue.  Night  after  night  we  strolled 
to  the  Midway  but  never  could  we  persuade  Mary 
to  go.  She  preferred  home  and  mother  to  ice  and 
cutting  winds. 

But  how  she  loved  dramatics !  I  recall  a  very 
amusing  incident  which  happened  one  night  shortly 
before  our  graduation  from  grade  school.  I  gave 
a  party  for  about  thirty  boys  and  girls. 
Our  age?  About  thirteen  years.  Of 
course,  the  evening's  entertainment  was 
made  up  chiefly  of  "Post  Office," 
"Kiss  the  Pillow"  and  the  other  equal- 
ly popular  games  of  that  kind.  Well, 
Mary  was  called  in  by  one  of  the  boys, 
and  horrors  !  she  didn't  even  know  how 
the  game  was  played.  She  had  never 
before  been  kissed  at  a  party. 

Mary  remained  all  night  Avith  me.  I 
can  still  vision  ner  long  curls  lying 
across  the  pillow.  I  thought  her  most 
beautiful  thing  in  the  world !  The 
next  morning  we  arose  early  and 
played  show  until  time  for  her  to  leave. 
Mary's  favorite  bit  of  acting  was  the 
death  scene  from  ' '  Romeo  and  Juliet, ' ' 
and  with  my  mother's  paper  knife  as 
dagger,  we  stabbed  ourselves  over  and 
over  again.  And  how  Ave  cried  and 
emoted ! 

And  Mary  could  sew.  We  had  to 
make  our  middies  and  skirts  in  the 
seAving  class  at  school  for  graduation. 
On  the  Avaists,  there  was  consideiable 
smocking  to  be  done ;  mine  was  a  per- 
fect fright,  but  Mary's  Avas  lovely. 


32 


CTORIES  of  the 

days  of  long,  long 
ago,  back  in 
1918  - 1919, 
when  some 
movie  stars 
were  only 
fire-flies. 


\R  a  I  p  h  Graves 
<with  a  delicious 
burden. 


On  several  ocasions,  we 
danced  for  benefits  and  vari- 
ous charities.  One  night  we 
i  performed  at  the  Masonic 
;  Temple  and  another  time  at 
a  Presbyterian  Church  on 
Sixty-Fifth  Street.  It  was 
(this  night  that  Mary  did  an 
^Egyptian  Waltz.  With  her 
jlong  hair  and  flowing  veils 
(she  was  a  picture,  and  so  per- 
fect that  many  did  not  know 
iuntil  afterward  that  she  was 
jany  other  than  a  professional. 
iShe  received  many  offers  to 
dance  elsewhere  and  was  so 
delightfully  graceful  and  de- 
jrnire  that  she  fitted  into  each 
(role. 

We  were  in  the  same  eighth  grade  at  John  Fiske 
School,  and  it  was  always  up  to  Mary  and  me  to 
provide  the  entertainment  for  the  class.  I  always 
(played  the  piano  and  Mary  danced. 

We  entered  Hyde  Park  High  School  together  and 
■hose  the  General  Course  with  French  and  made  our 
way  to  Session  Room  336,  Freshman  Room.  How 
t)roud  we  were  to  be  among  the  really  older  students ! 
JjVlary  and  I  joined  both  the  Choral  Society  and  Glee 
Jlubs  and  managed  to  be  in  two  productions  given 
)y  the  school,  "Behind  the  Front"  and  "A  Hermit 
)f  Hawaii."  In  the  latter  we  were  Hawaiian  dan- 
gers. 

One  cold  day  we  danced  at  the  Indiana  Sand 
Dunes  in  a  pageant.  We  were  representing  ' '  Sand- 
pipers" and  had  to  dress  in  yellow  and  brown  ac- 
•ordingly.  We  had  our  pictures  in  a  Chicago  paper 
pid  were  altogether  very  proud  and  happy. 

After  that  time  we  danced  at  the  Khaki  and  Blue 
[Tub  for  the  entertainment  of  the  soldiers  and  sailors. 
CVe  had  refreshments  after  our  performance  and 
lanced  with  the  "boys."  Were  we  grown  up? 
vVell,  I  should  say! 

But  even  now,  Mary  is  still  a  child,  the  same  sweet 
hild  who  awed  the  boys  with  her  shyness  and  in- 
ioeence  back  in  our  schooldays. 

Any  one  who  sees_  Mary  as  the  lovely  heroine  in 
'The  Phantom  of  the  Opera"  cannot  fail  but  be 
nthusiastic  over  her  beauty  and  charm  and  ability. 
»he  is  famous  now.  but  how  can  I  ever  forget  the 
'ear,  sweet,  loving  girlhood  chum  who  was  loved 
y  all  and  will  continue  to  flash  her  perennial 
faithfulness  across  the  silversheet  to  thousands ! 


£  'These  stories  of  the  stars  of  other 
I  days  are  very  interesting  to  all 
movie  fans. 

Did  you  ever  know,  intimately, 
one  of  the  present  screen  favo- 
rites ? 

Write  a  letter  about  the  girl  or 
boy  you  know  and,  if  possible, 
send  photograph.  Every  story 
printed  is  well  paid  for. 

Address  the  Editor  SCREEN- 
LAND,  236  West  55th  Street; 
NewYork,  N.  Y. 

RALPH  GRAVES 

By  Dalcie  Kawle 

'  V"    ^rAME  is  the  perfume 
\J?    J  of  heroic  deeds.  ' ' 

.  .  .  SOCRATES 


alph  "Graves,"— since  he  chooses  nowadays 
to  use  that  name  instead  of  the  name 
ghtfully  his— was  to  me  proof  of  the 
wisdom  of  Socrates! 
His  school  days  are  not  so  far  removed  that  he 
cannot  bring  them  vividly  to  mind.  Studies  were 
never  very  fascinating  for  Ralph ;  he  was  just  going 
through  high  school  days  to  get  to  the  bigger  and 
more  glorious  things  that  beckoned  him  toward  ad- 
venture. Most  of  the  girls  primped  and  fluttered  for 
his  attentions,  and  he  was  nonchalant  in  accepting 
the  sweetness  of  the  popular  belles ;  and  occasionally 
stepping  on  their  toes,  figuratively  speaking. 

Somehow,  being  a  year  senior  to  Ralph,  I  never 
paid  a  great  deal  of  attention  to  him  until,  going 
back  over  an  unfortunate  study,  our  courses  over- 
lapped and  we  shared  the  same  professor.  Well, 
to  make  a  long  story  short — I  knew  most  of  The 
work  from  former  applications — and  I  liked  the  glint 
in  Ralph's  hair  and  that  boyish  open  smile— and 
perhaps  we  did  cheat  a  little.  Hurriedly  scribbled 
"helps"  in  cases  of  dire  ignorance  or  whispered 
"hints"  while  lie  shuffled  his  feet  to  arise  and 
answer  a  query  were  part  of  the  everyday  manifes- 
tations of  a  growing  acquaintance. 

One  night  we  sat  out  a  dance  at  one  of  the  "East 
High"  social  functions  and  he  told  me  he  was  going 
to  try  for  the  stage.  He  had  been  an  "instructor'' 
at  the  Elysium,  an  ice-skating  palace,  ami  being 
even  slightly  in  the  public  eye  had  given  rise  to 
worthier  ambitions.  I  can  close  my  eyes  and  see 
him  skating  briskly  with  his  heavy  sweater  rolled  to 
his  ears  and  his  flashing  teeth  as  he  smiled  and 
teased  the  girls  from  school. 


Not  long  after  that  he  came  one  night,  flushed  and 
happy,  with  the  news  of  his  first  "opportunity." 
Mary  McLane,  the  egotkt,  Avas  to  produce  her  book 
in  a  movie  and  Ralph,  was  to  play  one  of  the  men 
in  the  story,  ' '  I  Mary  McLane — and  Men  Who  Have 
Made  Love  to  Me."  Ralph  left,  somehow  105th 
street  Avas  never  the  same — our  little  "dives"  seemed 
empty  Avithout  him  bending  over  a  double  chocolate 
soda,'  and  the  dances  Avere  faded  Avithout  his  bright 
head  above  every  other  man's. 

Months  pi  ssed,  and  the  "Strand"  (since  defunct) 
announced  the  picture.  Perhaps  I  saAV  it  once  or 
thirty  times — I  forgot;  but  the  several  minutes  in 
which  Ralph's  pitifully  small  and  unheralded  part 
existed  seemed  like  the  "great  success"  I  had  Avished 
him. 

His  history  is  not  unknoAvn  from  there  on — he 
played  minor  roles — struggling  to  keep  his  head 
above  the  waters  of  oblivion,  and  finally  sprang  in- 
to prominence  with  Griffith  in  some  of  the  best  of 
the  great  producer's  pictures.  The  best  performance 
I  think  Avas  his  lead  in  "Dream  Street." 

Success  has  come  to  him,  and  I  Avonder  if  the  hope 
he  helped  thrive  for  me  that  someday  he  would 
act  in  one  of  my  plays  will  some  day  come  true  and 
bring  two  old  acquaintances  together  again — after 
all  these  years — eight  in  all! 

I  wonder  if  his  ready 
wit  and  buoyant  laugh- 
ter is  as  evident  as  in 
the  old  days,  but  there 
is  one  thing  I 'm  sure  of 
— he  vroald  have  no  rea- 
son iioav  to  borrow  a 
"buck"  or  two  as  he 
used  to  do  from  my 
brother !  His  success 
has  made  me  certain,  by 
the  deeds  I've  known 
him  to  do,  that  Socrates 
certainly  knew  what  Avas 
Avhat  when  he  said, 
"Fame  is  the  perfume 
of  heroic  deeds."  For 
Ralph  "Graves"  has 
never  been  anything  but 
°  dashing,  heroic,  lovable 
lad. 


CJ  Ralph  Graves  was 
an  instructor  at  the 
Elysium  ice-skating 
palace  in  Columbus, 
Ohio,  when  he  ivas 
a  high-school  hoy. 


"I  always  thought  he  would  make  his 
mark,  "—did  you  ever  know  a  starlet? 

Write  to  SCREENLAND  about  it 


(^Estelle  Taylor  ivas  a  Wil- 
mington, Delaware,  girl. 


ay  lor 

By  Mrs.  Bernard  Schneider 


"O'stelle  Taylor  and  I  were  buddies 
for  a  long  time.  Up  until  Estelfe 
Avas  married  Ave  were  like  twin  sisters 
We  dressed  our  hair  in  the  same 
manner,  fashioned  our  clothes  as  near 
alike  as  possible. 

Estelle  lived  with  her  grandparent 
in  Wilmington  at  Fourth  and  Adams 
streets  in  a  big  three  story  brick 
house,  and  many  many  times  have  I 
gone  to  spend  the  night  there.  One 
of  these  occasions  I  shall  neArer  for- 
get. It  had  snoAved  all  day  and  when 
Ave  awoke  next  morning  the  snow  was 
banked  up  high  on  the  window  sill. 
Estelle  and  I  crept  out  of  bed  and 
(Continued  on  page  73) 


34 


^Posed  by  Barbara 
La  Marr  and  Bert 
Lytell  in  "Sandra" 


I love  a  motion  picture  theatre.  To  me  it  is  a  shadowy  cathedral.  Its  deep  twilight 
and  starry  lights,  its  pleasant  organ  music,  extend  to  me  a  restful  haven,  a  back- 
water undisturbed  by  haste. 

All  men  throughout  all  time  have  sought  quiet  places.  The  noble  temples  of 
other  ages  gave  no  more  harmonious  or  soothing  harbor  to  weary  penitents  than  the  motion 
picture  theatre  extends  to  the  busy  humans  who  seek  its  tranquil  spaces. 

Even  as  the  shepherds  in  twilights  of  other  days  sat  silent  beneath  the  stars  in  serene 
contemplation,  the  day's  labor  over,  so  I  am  glad  as  evening  comes  to  go  to  the  movies 
where  no  spoken  word  demands  answer  or  action  and  where  beauty  and  music  lead  on 
to  unreality  and  dreams. 

The  story  comes  before  us,  but  we  need  not  turn  a  page.  Other  lives  for  an  hour  or  so 
are  our  own.  Their  joys  are  our  joys,  their  loves  are  those  that  we  have  known. 

A  movie  theatre  is  a  cathedral  where  again  the  faithful  worship  the  ancient  sa^as. 
Here  right  triumphs,  virtue  wins,  and  no  villainy  escapes  just  condemnation.  These  are 
the  dreams  eternal  of  all  men ;  here  we  renew  our  stumbling  faiths. 


1 


Rabies 


What  is  the  elusive 
quality  motherhood 
gives  that  has  brought 
to  our  young  screen 
their  great 


mothers 
success  ? 


By  V>ehght  Rvar/s 


¥  <\Beauti- 
ful  Alice 
Joyce, 

mother  of  two 

daug liters. 


€$  Little  Mar- 
jorie  W  ah 
ker.  What 
sensitive  act- 
ress could  be 
closely  asso- 
ciated iviti 
this  darling 
baby  and  not 
gain  in 
beauty  and 
personality? 


PTHEL  BARRYMORE  once  created  quite  a  furore 
^  by  coming  right  out  in  public  and  asserting,  "No 
actress  can  be  really  great  until  she  has  experienced 
the  divine  joy  of  motherhood."  Ethel  may  not  have 
used  just  the-same  words ;  if  so,  I  hereby  apologize  to 
her  and  all  her  children.  But  the  meaning  was  the 
same. 

I  don't  know  what  it  did  for  art,  but  it  certainly 
started  something.  It  isn't  a  matter  of  theatrical  rec- 
ord that  some  aspiring  ingenues  immediately  began  to 
raise  large  families.  But  that  remark  of  Miss  Barry 
more's  instituted  a  tradition.  She  was  a  marvellous 
advertisement  for  motherhood.  A  great  actress,  she 
was  also  a  devoted  (Continued  on  page  73) 


^Gloria  Svuan- 
son  climbed 
to  the  very 
pinnacle  o  f 
success — after 
she  •was  a 
mother.  This 
is  not  h  c  r 
baby. 


f\Mr.  and  Mrs. 
James  Kirk- 
ivood.  James 
Jr.,  has  not  yet 
reached  1  h  e 
picture  age. 


Bring 

Beauty 

with 

Them 


<1  Claire  Windsor 
and  her  son, 
Billy;  they  are 
regular  pals. 


%Mar-y  Carr  is  the 
mot  Iter  of  seven 
children.  Did  you 
ever  see  an  old 
maid  as  lovely 
as  Mary? 


%Leatrice  Joy  left 
the  baby  at  home 
and  set  a  neiv 
style  in  success  in 
"The  Dressmaker 
from  Paris." 


*l  Irene  Rich  and 
her  Ri  c  h  e  s. 
Frances  and  little 
Jan. 


%th'e  Barthclmess 
jam  ily — Richard, 
Mary  Hay,  and 
Mary  Hay, 
Junior.  You  can 
see  the  whole 
family  in  "New 
Toys." 


ew  qJ  creenplays 

Reviewed  By  Delight  Kvans 


SCREEN  LAND'S  BEST  BET 

Of  the  Month: 

<UThe  Last  Laugh  is  art  of  the  highest  order. Here  is  no  "acting" 
— but  try  to  think  of  any  greater  performance  than  Emil  Jan- 
nings  as  the  old  doorman! 


<jO//,  go  and  see  it  for  yourself!    And  try  not  to  bite  your  nails. 


e 


OST 


ORLD 


A  BOX  SEAT  AT  THE  CIRCUS 


~TT~  f  you  ever  spent  an  evening  deep  in  a  mystery 
story,  shuddering  every  time  you  heard  a  foot- 
step in  the  hall  even  though  you  knew  it  was 
only  the  landlord,  dear  old  fellow;  or  a  creak- 
ing board  overhead,  and  finally  bounced  into  bed 
only  to  spend  the  rest  of  the  night  wrestling  with 
your  pillow  in  the  delusion  that  it  was  a  crook  wanted 
on  three   continents — well,  then,   don't  miss  the 
movies'    three-ring   circus    en-  ^^acp?^ 
titled— 

Al-to-gether,  now :  The  Lost 
d.   Spinal  shivers  or  money 
ided  at  box-office.  Posi- 
.y  farewell  performance  of 
J,  famous  Saurus  family :  Dino, 
Alio,    and    Bronto — and  isn't 
Bronto  the  cutest  little  thing 
you  ever  saw  ?    Talent,  that 's 
what  these  Saurus  boys  have; 


and  it  was  worth  all  the  money  First  National  had 
to  pay  them  to  induce  them  to  appear  for  the  first 
time  in  ten  million  years.  And  they're  as  spry — 
some  of  our  juveniles  have  nothing  on  them. 

They  are  the  stars  of  the  picture  version  of  A. 
Conan  Doyle's  fantasy.   The  picture  was  made  with 
the  assistance  of  scores  of  people  besides  the  Saurii. 
The  technical  direction  was,  the  introductory  titles 
informed  us,  by  Willie  0  'Brien ;  the  drama- 
tie  direction  by  Harry  Hoyt;  architecture 
by   somebody   named   Milton   Menasco — 
what  a  perfectly  lovely  name,  anyway ! — 
a  list  as  long  as  our  Bronto 's  tail.  The 
only  thing  they  forgot  was  a  spiritual 
advisor.   But  once  into  the 
story — dearie  me,  the  ad- 
ventures  they    do    have ! 
And  we  go  right  along  with 
the  distinguished  exploring 


Bessie  Love  as  Paula 
White,  and  the  brontosau- 
rus  tahich  is  captured  and 
taken  to  London. 


58 


party  which  includes  our  little  Love  Bessie ;  Wallace  Beery  as  a  blus- 
tering and  inquisitive  scientist — bless  his  heart,  for  once  he  lets  the 
gals  alone;  Lloyd  Hughes — and  a  really  gifted  monkey — his  name 
is  Jocko  but  outside  of  that  he  is  very  original.  They  go  to  this  for- 
bidding plateau  to  prove  that  the  descendants  of  the  mammoth  skele- 
tons you  see  in  museums  are  still  roaming  around. 
And  the  poor  fools  find  'em,  they  do ! 

Of  course,  we  all  know  the  ape-man  is  only  Bull 
Montana,  our  leading  heart -breaker,  dressed  up 
in  a  monkey-suit ;  and  if  you  are  of  a  prying  turn 
of  mind  you  can  dope  it  all  out  with 
your  neighbor  that  the  Saurii  family  are 
only  made  of  clay  and  camera  tricks. 
But  be  yourself,  kids,  and  let  it  get  you. 
It's  worth  it. 

There  is  enough  for  critics  to  laugh 
over  if  they  have  enough  sense  of  humor 
— the  story  is  simply  filled  with  lost 
opportunities  for  dramatic  action.  But 
the  real  thrills — -when  Dino  meets  Bron- 
to  and  they  quarrel  over  the  pterdoctyl 
that  Bronto  stole  from  Dino  three  mil- 
lion years  ago,  and  there  are  close-ups 
of  them  with  dripping  jaws — well,  it's 
better  than  any  spook  story.  As  for  the 
part  in  which  Bronto,  brought  to  Lon- 
don on  a  leash  by  Beery,  escapes  and 
upsets  the  town — oh,  go  and  see  it  for 
yourself  !  And  try  not 
to  bite  your  nails. 


«J  Paula  While 
faces  unknown 
dangers  to 
carry  on  her 
father's  work. 


I 


Professor  Challen- 
ger's {Wallace 
Beery)  lost  world- 
expedition  makes 
its  way  to  the  up- 
per reaches  of  the 
Amazon  River. 


<y|  "The  Last  Laugh''  is  the  motion  picture/ 


he 


AST 


A  UGH 


1 


^he  Last  Laugh  is  also  the  last  word. 

As  far  as  I  am  concerned,  it  is  the  motion 
picture.  But  I  am  not  concerned.  It  is 
entirely  up  to  you  if  this  German  produc- 
tion is  to  be  encouraged  to  live  to  a  ripe  old  age ;  and 
if  it  is  to  be  followed  by  others  of  the  same  standard. 
In  other  words,  you  have  the  last  laugh.  I  hope  it 's 
with  and  not  on  the  picture. 

Here  is  an  example  of  what  they're  forever  talk- 
ing about:  a  real  screen  technique.  Not  the  form 
of  the  novel  adapted  to  the  screen.  Nor  that  of  the 
spoken  drama.  But  a  wholly  original  screen  style. 
The  Last  Laugh,  which  has  been  successively  titled 
The  Least  of  Men  and  The  Last  Man,  possesses  the 
peculiar  and  poignant  art  which  belongs  exclusively 
to  the  photoplay.  Incidentally,  it  is  the  most  heart- 
breaking drama  I  have  ever  seen  anywhere.  Have 
you  ever  cried  tears — real  tears — of  joy  at  any  enter- 
tainment ?  The  theatre  I  was  in  might  have  been  an 
airdome  during  a  spring  shower ;  the  tear-drops  pour- 


ing on  the  programs  gave  the  same  effect. 

Here  is  no  attempt  at  "art."  And  yet  it  is  art 
of  the  highest  order.  Here  is  no  "acting" — but  try 
to  think  of  any  greater  performance  than  Em;! 
Jannings'  as  the  doorman  who  is  too  old  for  his  job. 
and  has  to  give  up  his  beloved  uniform  with  its  gold 
braid  and  epaulets.  Other  producers  have  spent 
thousands  of  iron  men  and  hired  thousands  of  other 
men  and  perspired  and  sworn  and  worked  out  adver- 
tising campaigns  months  in  advance  and  offered 
elaborate  presentations — and  unfeeling  audiences 
have  voted  their  pictures  "flops.''  The  Last  Laugh 
was  presented  quietly  in  a  Broadway  theatre  as  half 
of  a  double  bill,  the  other  half  being  an  American 
comedy;  but  if  its  audiences  are  also  unfeeling  then 
I  lose  my  faith  in  them. 

Of  course  that  will  make  them  feel  terrible.  Per- 
haps I  have  gone  about  my  ballyhoo  in  the  wrong 
way  entirely  by  talk  of  "technique."  I  should  have 
shouted,  "Great  entertainment!" 


39 


It  is.  It  drags  you  along  with  it.  It  will  make 
you  laugli  one  minute,  cry  the  next.  And  unlike  so 
many  sob-inducers,  it  does  not  provide  the  onions. 
It  uses  absolutely  natural  and  legitimate  means  of 
playing  on  your  emotions.  Broadway  applauded  The 
Last  Laugh  as  they  have  never  applauded  an  un- 
heralded picture  before.  And  when  the  lights  went 
up  there  wasn't  an  empty  seat,  or  an  empty  face, 
in  the  house. 


I  wish  an  American  writer  had  written  it,  and  an 
American  director  and  cast  concerned  in  its  pro- 
duction. It  is  not  easy  for  us  to  take  a  "little  im- 
port ' '  into  our  hearts  and  theatres  and  acknowledge 
its  greatness.  But  I  don't  see  how  we  can  get  out 
of  it,  Myself,  I  wish  to  offer,  here  and  now,  a  prize 
of  a  red-plush  radio  set  to  any  one  who  remains  un- 
moved. 


fjlt   is  pure  pantomime.     Only   Chaplin   could   equal  Raymond  Griffith. 


THE  BEST  MAN  WINS 


^Raymond  Griffith  scores  as  a 
comedian. 


ISS 


LUEBEARD 


}B  e  b  e  Daniels  as 
"Little  Miss  Blue- 
beard." 


JUST  as  you  think  there  can't  be  any 
new  gag  sprung  on  you,  along 
comes  Raymond  Griffith,  all  dressed 
up  in  a  cutaway  and  a  silk  hat, 
evolving  an  entirely  original  comedy 
character. 

Hitherto  our  screen  comedians  have 
been  of  the  rough-and-ready  class.  They 
wear  baggy  clothes  and  funny  hats. 
(Their  pants  are  always  on  their  last 
legs.)  But  Griffith  is  a  suave,  well- 
dressed,  well-meaning,-  gentlemanly  indivi- 
dual ;  he  enters  swinging  his  stick,  and 
whistling  a  gay  tune — oh,  well,  he  would 
whistle  if  we  could  hear  him.  And  if  I 
say  he  is  just  as  clever  in  his  way  as 

Charles  Chaplin  is  in  his,  just  say  I'm  crazy,  or  in  love  with  him,  or 
something  like  that.  After  you  have  seen  him  in  Forty  Winks  or 
Little  Miss  Bluebeard  I'll  be  laughing  at  you. 

It  was  in  the  Bebe  Daniels  picture,  Miss  Bluebeard,  that  I  first 
admitted  that  this  felloAV  Griffith  is  no  accident.  I  had  seen  him 
before,  flashing  through  a  film,  sometimes  grotesque,  sometimes 
funny,  always  annoyingly  different.  Somehow  he  never  quite 
fitted  in.  He  never  belonged.  Now  I  know  why.  His  personality 
is  too  vivid  to  fit  in ;  it  has  to  be  fitted.  And  if  I  were  a  motion 
picture  producer  I'd  send  out  hurry  calls  for  a  tailor. 

The  Daniels  picture  scintillates  when  Raymond  Griffith  appears. 
He  is  a  vague  creature,  rather  like  the  best  man  at  a  wedding; 
he  is  amiable,  always  in  the  way,  a  graceful  blunderer.  He  tries 
to  fix  things — and  gets  thrown  out.  Our  great  comedy  characters 
are  always  the  third  parties — the  extra  man — the  goat.  In  Blue- 
beard Griffith  tries  to  make  himself  useful,  and  succeeds  in  making 
himself  a  darned  nuisance.  On  one  occasion  he  does  an  imitation 
of  a  cat — the  captions  don't  st*y  cat,  but  it  needs  no  diagram.  It 
is  the  funniest  thing  I  have  ever  seen.  It  is  pure  pantomime. 
Only  Chaplin  could  equal  it. 


0  Raymond  Griffith  prances  off  ivifh  the  picture. 

FORTY  WINKS 


A*  old,  old  friend  of  the  stage  played  by  a 
brand-new  screen  star  isn't  a  bad  idea. 
And  it  makes  Forty  Winks  a  good  picture. 
Without  Raymond  Griffith  as  Lord  Chum- 
ley,  I  shudder  to  think  what  it  could  have  been  if 


left  to  itself.  As  the  final  title  says,  "What  of  Forty 
Winks?  What,  indeed!"  Refreshingly  frank,  that 
title. 

The  father  of  Cecil  and  William  deMille  wrote  the 
play;  bnt  the  picture  is  embellished  with  gags  and 


40 


slapstick  and  Viola 
Dana  and  other 
entirely  cinematic 
devices.  And  with 
good  purpose.  Off 
to  a  slow  start, 
Forty  Winks  works 
its  way  up  to  a  hi- 
larious finish — to  tell 
it  is  to  spoil  it  so  I 
won't.  Besides,  I 
can't  think  of  any 
words  to  describe 
the  foolishness. 

In  his  dapper  dis- 
guise, which  I  ven- 
ture to  predict  will 
soon  he  very  fami- 
liar to  us,  Ray  Grif- 
fith prances  off  with 
the  picture.  He  has 
competition  — Theo- 
dore Roberts,  Yiola, 
and  others.  But  it 's 
a  habit  with  him 
now.  And  not  bad, 
not  bad. 


4J Eleanor  Butterworth 
{Viola  Dana)  in 
"Forty  Winks"'  as 
she  commands  Lord 
Chumley  {Raymo  nd 
Griffith).  "I  want 
you  to  promise  me 
that  you'll  never  ride 
a  horse  again!" 


f^If  you  keep  awake,  there  are  things  worth  seeing. 


alvation  /punters 


<J  Georgia     Hale  and 
George   K.   Arthur  in 
Josef    von    Sternberg's  I 
offering,  "The  Salvation 
Hunters." 


Just  a 
Slow -Motion  Picture 


fr 'm  sorry,  but  I 
it  can't  get  worked 
up  over  The  Salva- 
tion Hunters.  One 
way  or  the  other. 
The  thing  to  do  is 
to  take  it  awfully 
seriously.  Mary 
Pickf  ord  and  Doug 
and  Charlie  did, 
and  it  fooled 
everybody  else  into 
doing  so  too.  The 
few  in  these  parts 
who  agreed  with 
the  Big  Three's 
critical  judgment 
almost,  came  to 
blows  with  those 
who  scoffed  at  the 
Josef  von  Stern- 
berg offering.  It 
went  so  far  that 
some  were  letting 
such  words  as 
"A  r  t"     a  n  d 


41 


"Bunk"  out  of  their  dictionaries,  when  they  should 
have  saved  them  for  cross-word  puzzle  use.  It  looks, 
from  my  seat  somewhere  in  the  eighth  row  on  the 
aisle,  that  neither  "Art"  nor  "Bunk"  describes 
this  picture.  There  is  a  little  of  both  used  in  the 
production,  but  not  much. 

If  you  can  keep  awake,  there  are  things  worth 
seeing.  But  the  young  director  seems  to  have  in- 
structed his  equally  young  players  to  do  their  parts 
as  if  they  were  walking  in  their  sleep.  The  result 
is  a  two-reel  idea  that  takes  five  reels  to  unfold.  It 's 
a  very  simple  idea,  you  can  count  on  that.  Almost 
nothing  happens. 


Georgia  Hale,  despite  the  handicap  of  direction 
which  requires  her  to  move  like  the  girls'  hundred- 
yard-dash  champion  filmed  by  the  slow-motion  news- 
reel  guys,  looks  as  if  she  possesses  enough  spirit  to 
have  beaten  up  the  entire  cast.  She  has  an  interest- 
ing face  and  an  expressive  body,  and  if  she  is  given 
a  chance  will  probably  whirl  her  way  into  stardom. 
She's  to  be  Charlie  Chaplin's  leading  woman  next, 
I  hear;  and  I  only  hope  she  doesn't  use  slow  motion 
methods  dodging  Charlie's  slapstick.  Still,  in 
comedy  the  misses  are  the  hits. 


haphazard,  fifty-fifty  affair  that  has  its  moments 


EVIL'S  (  ARGO 


WORSE  -  THAN  -  DEATH 


HE  trouble  with 
the  movies — yes, 
I've    fallen  for 
it,     too — every- 
body else  has  tried  diag- 
nosing their  ailments,  and 
I    want    my    fling— the 
trouble  is  that  there  are 
too   many   labels.  The 
minute     Tom  Meighan, 
Milton  Sills,  or  Conway 
Tearle    walks    on  the 
screen,  I  see  a  placard 
announcing      1 '  Sterling 
Manhood."    Barbara  La 
Marr,  or  Aileen  Pringle, 
might  just  as  well  wear 
labels  marked  "Sex  Ap- 
peal."   Similarly,  when- 
ever I  see  good  old  Wal- 
lace Beery  coming  I  see 
written  in  flaming  letters 
across     his  sjiirt-front. 
' 1  Worse-than-Death. ' '  No 
matter  if  his  particular 
vehicle  happens  to  be  a 
society  drama  of 
the  drawing 
rooms  or  a  tropi- 
cal drama  of  the 
south      seas — I 
put  it  that  way 
because  the  pos-  I 
ters  usually  do—  ~" 
I  know  in  ad- 
vance that   be-  : 
fore  long  Beery  E5^ 
will  narrow  his 
eyes     at  the 

heroine  and  the  chase  will  begin. 
The  poor  girl  will  run  from  chair 
to  chair  or  crag  to  crag  accord- 
ing to  locale;'  getting  .her  Paris. 


<J  WVliam  Collier,  Jr.,  Pauline  Starke  and  Wal- 
lace Beery  are  the  three  important  figures  in 
"The   Devil's  Cargo." 


frock  or  her  leopard 
skin  torn  to  shreds ; 
Wallace  will  clench 
his  fists,  leer  again, 
and  lurch  after  her, 
and  they'll  keep  that 
up  until  the  hero 
comes  limping  in  like 
a  telegraph  messen- 
ger-boy. saying, 
' '  Thank  God,  I  'ni  not 
too  late  ! ' '  When 
everybody  is  hoping 
he  is.  That's  how 
popular  Wallace 
Beery  is  getting. 

I  prefer  Beery 's 
leers  to  any  other 
man's.  And  when  he 
is  given  a  chance  he  '11 
put  across  a  charac- 
terization that  hides 
his  label  of  "Expert 
Villain."  He  does 
this  beautifully  in 
The  Devil's  Cargo — ■ 
a  haphazard, 
fifty-fifty  affair 
that  has  its  mo- 
ments, but  is  en- 
titled to  ap- 
plause chiefly  on 
the  strength  of 
Beery 's  bully. 

He  plays 
something  on  a 


f^March  {Claire  Adams)  and 
Ben  {Wallace  Beery)  on  the 
river  boat.  W  allace  Beery 
can  hardly  appear  on  the 
screen  but  ivhat  I  seem  to  see 
written  across  his  forehead — 
W or se-than-death. 


42 


ship — not  the  captain  or  the  bowsprit — I  think  it's  the 
stoker;  or  if  it  isn't  it  ought  to  be.  Sort  of  a  Hairy 
Ape.  He  sees  his  chance  when  the  ship  is  set  adrift, 
throws  Raymond  Hatton  in  a  captain's  cap  over- 
board, and  assumes  command,  out  where  the  leers 
begin.  He  goes  after  the  girls  right  and  left — 
Pauline  Starke  or  Claire  Adams,  it's  all  the  same 
to  him.  Chving  to  the  fact  that  we  have  never  yet 
seen  Beery  get  his  girl,  there  wasn't  much  suspense. 


We  knew  there  would  be  an  opportune  rescue  for 
the  heroine  from  that  fate  which  the  scenario  writers 
have  informed  us  is  " worse-than-death."  Bik  that's 
not  Mr.  Beery 's  fault. 

I  should  think,  though,  that  he  would  be  glad  to 
let  them  slice  his  salary  just  once  if  they'd  let  him 
turn  the  tables  on  the  scenario  writers.  Think  of  the 
sensation  it  would  cause — headlines — "Wally  Beery 
Gets  Girl — Trapped  in  Hut — Hero  Sprains  Spur — ■ 
Arrives  Too  Late."    Gosh  ! 


f^Mary  Hay  is  a  charming  and  quaint  personal!: 


q  Will  Webb  {Richard 
Barthelmess)  meets 
Mary  Lane 
(Mary  Hay) 
doing  a 
"Peter  Pan," 
and  is  com- 
pletely smit- 
ten. 


<1  The  neglected 
husband  prac- 
tices strong-arm 
methods  for  the 
edification 
the  baby. 


of 


OYS 


DICK'S  PRETTY  NEW  RATTLE 

~y  EW  TOYS  may  be  all  right,  but  Dick  Barthelmess  had  better 
stick  to  his  old  ones  and  not  go  peeking  in  strange  nurseries. 
That  title  is  appropriate ;  the  star  is  playing  with  a  nice, 
bright,  shiny  new  toy — comedy.    But  he  plays  too  hard.  He 
just  wears  himself  out. 


43 


New  Toys  should  have  made  a  good  vehicle  for 
the  talents  of  Mr.  Barthelmess  and  his  cunning  little 
wife  Mary  Hay.  It  misses  fire  and  emerges  as  a  very 
dull  domestic  affair.  The  reason  is  that  they  all — 
Dick,  Mary,  and  director  Robertson — took  it  too 
seriously.  I  can  just  see  the  trio  declaring  despera- 
tely, "Now,  this  has  got  to  be  funny,"  and  clench- 
ing their  teeth  and  their  fists  and  going  to  it.  The 
whole  picture  shows  the  strain.  There's  nothing 
fresh  or  spontaneous  about  it.  I  may  be  wrong,  but 
to  me  Richard  is  no  comedian,  and  the  harder  he 


tries  to  be,  the  more  appallingly  unfunny_TIe  be- 
comes. He's  a  great  actor  when  he  stays  in  his  own 
backyard  of  serious  drama.  In  New  Toys  he  strays 
far,  far  away. 

Mary  Hay  is  better  than  Dick  is.  Comedy  is  her 
playground,  and  while  she  shows  her  screen  inex- 
perience, she  is  a  charming  and  quaint  personality — 
she  could  do  the  sort  of  things  Dorothy  Gish  used 
to  do.  As  for  Clifton  Webb,  the  third  principal  of 
the  east,  he  came  from  the  stage,  and  he  should  have 
stayed  there. 


flit's  another  spectacle — with,  supposedly,  thousands  of  extras. 


HIN  (  MOW 


CHEERIO— CHIN  CHIN 


CHIT  CHIN  CHOW 
might  be  an  old- 
fashioned  toast,  a 
railroad  drama,  or 
a  Chinese  delicacy.  No  such 
luck,  though — it 's  another 
spectacle.  The  kind  with, 
supposedly,  thousands  of  ex- 
tras ;  but  all  the  time  I  got 
the  impression  that  they 
were  working  a  handful  of 
poor  supers  to  death  rush- 
ing them  back  and  forth  in 
front  of  the  camera.  As  a 
spectacle  on  the  stage  Chu 
Chin  Chow  had  at  least  the 
merits  of  color  and  dancing 
girls;  as  a  picture,  it's  a 
darned  shame. 

They  made  it  in  England 
with  all  the  dash  and  verve  of  a  dress  rehearsal  in  the 
high-school  auditorium — the  time,  you  remember, 
when  everything  went  wrong,  from  the  hero  forget- 
ting his  lines  to  the  ourtain  coming1  down  too  soon. 


<$  Betty  Blythe,  the  only  famliar  figure 
(and  ive  use  figure  advisedly)  plays 
Zahrat,  the  most  beautiful  girl. 


Those  playing  in  Chu 
Chin  Chow  all  work  very- 
hard,  but  somehow  they 
can't  seem  to  get  imbued 
with  the  oriental  idea. 
They  wear  their  Persian 
and  Chinese  costumes  in 
the  same  spirited  manner 
one  sees  in  department 
store  windows.  Betty 
Blythe,  the  only  familiar 
figure,  and  I  use  figure 
advisedly,  plays  Zahrat;, 
the  most  beautiful  girl  in 
all — in  all — well,  it  isn't 
Spain,  but  it  might  be  al- 
Omar    {Jameson  most  anywhere  else. 

Thomas)  before 

the    depredations        ^         .,  .  . 
and  intrigues   of        °Ue    thln£    aboilt  GllU 

Chu  Chin  Choiv  Chin  Chow,  though — it  is 
had  begun.  quite  long.   And  the  musi- 

cal score — cymbals  smashing,  and  all  that — will  warn 
you  when  to  open  one  eye  and  watch  the  screen. 
Well,  toodle-oo  !  The  next  spectacle  may  have  every- 
thing this  one  has,  and  more  too. 


^Such  zvas  the  love 
of  Zahrat  (Betty 
Blythe)  and 


44 


<I  You  ought  to  see  it.     This  Connie  looks  pretty  as  a  picture. 


EARNING  to 


OVE 


RISING  YOUNG  ACTRESS  MAKES  GOOD 


TES,  sir,  it  does  look  as  if  she'll  be  stepping 
right  out  among  'em  if  she  keeps  this  up. 
Hard  work,  and  perseverance — you  stick 
right  to  it,  little  girl,  and  before  very  long 
you'll  see  your  name  up  in  electric  lights,  one  o' 
these  days. 

This  young  girl,  folks,  named  Constance  Talmadge, 


is  considered  quite  a  com-ee-dyenn,  and 
I  was  tipped  off  that  great  things  are 
expected  of  her.  Of  course,  you  can't 
expect  her  to  shoot  up  all  of  a  sudden 
like  a  sky-rocket,  but  with  good  pictures 
she's  bound  to  have  things  coming  her 
way.  Take  this,  here,  now  Her  Night  of 
Romance.  You  can't  find  a  better  comedy 
than  that,  anywhere.  It's  slick,  that's 
what  it  is — slick.  Connie — that's  what 
folks  who  know  her  call  her — Connie,  she 
plays  a  rich  young  millionaire's  daughter 
who  thinks  she  has  heart  trouble — and  is 
sure  of  it  after  she  meets  Ronald  Colman. 
Ronnie  isn't  so  dumb,  either,  and  he  pre- 
tends he's  her  doctor.  Well,  say,  there's  all  kinds 
of  a  mix-up ;  and  it  takes  a  whole  picture  to  prove 
to  Connie  that  Ronnie  isn't  after  her  money  and  to 
Ronnie  that  Connie  dosn't  care  what  he's  after  so 
long  as  he  doesn't  overlook  her  heart.  You  ought 
to  see  it.  This  Connie  looks  pretty  as  a  picture — 
a  movin'  picture — ha  ha! 

And  no  sooner  does  she  hand  out  one  like  that 
when  along  she  comes  in  another  good  one,  Learning 
to  Love.  She's  always  in  love  and  somebody's  always 
in  love  with  her,  which  isn't  so  peculiar.  But  there's 
so  many  in  love  Avith  her  that  when  she  really  falls 
for  Tony  Moreno  her  style  is  sort  of  cramped,  and 
for  the  first  time  in  her  life  she  takes  it  all  seriously. 
She  has  to  learn  all  over  again  just  what  this  love 


thing  is  about ;  and  from  the  way  she  acted,  Tony 
must  have  been  a  graduate  professor.  John  Emerson 
and  Anita  Loos  thought  up  the  story  and  Connie 
acts  it  out  just  the  way  they  must  have  intended  her 
to.  So  that's  why  I  say,  keep  an  eye  on  this  girl. 
The  world  is  going  to  hear  about  her  some  day,  just 
mark  my  words. 


IP  at  Stanhope 
(Constance  Tal- 
madge) in  Eu- 
rope is  rudely 
awakened  by  her 
irate  husband, 
after  she  had  left 
him  in  the  good 
old  U.S.A.  to  ob- 
tain a  divorce  in 
Paris. 


^Constance  Talmadge 
and  Antonio  Moreno 
as  Pat  Stanhope  and 
Scott  JVarner  in 
"Learning  to  Love." 


EXCUSE  ME. 

Was  a  lot  of  fun  until  somebody — I  suspect 
Rupert  Hughes — had  the  brilliant  idea  of  put- 
ting a  kick  at  the  finish.  They  wrote  in  a  burning 
bridge  and  a  railroad  wreck.  Up  to  then  it  was  an 
engaging  farce,  sufficiently  sophisticated,  and  yet 
artless,  to  challenge  comparison  to  any  enjoyable 
nonsense  the  screen  has  had.  By  taking  itself  seri- 
ously at  the  last  moment  it  leaves  a  vaguely  un- 
pleasant impression — something  like  a  pill  after  the 
sugar  has  worn  off.  Norma  Shearer  and  Conrad 
Nagel  as  the  youthful  nearly-weds  show  an  unex- 
pected gift  for  deft  comedy  characterization. 


45 


OME  /Q 


ew 


-f 

ilms 


Bj/  Martm  B.  X^ick stein 

Q[  JFM^      cowslips  bring  blooms  to  the  pas- 
tures, the  pictures  are  blooming  in  town. 


prikg  is  here,  folks ;  flowers  are 
blooming  in  the  window  boxes 
up  and  down  the  2nd  Ave- 
nue Elevated  Line ;  birds  are 
singing  (or  should  be)  ;  the  hurdy- 
gurdies  are  out  playing  all  the  latest 
"I-wanna-go-back"  songs,  and  the 
starlets  in  Hollywood  have  all  returned  from  New 
York  stocked  to  their  trunk  tops  with  all  the  last 
minute  modes  in  furs. 

It  is  no  fit  time,  this,  for  a  young  man's  fancy  to 
turn  to  thoughts  of  the  vicissitudes  of  the  silent 
drama.  But  with  us  business  is  business.  Now  more 
than  ever  before  must  be  told  to  a  piiblic  that  waits 
with  mouths  a-water  the  true  condition  of  the  Spring- 
time product  of  the  picture  studios.  So,  to  get 
down  to  the  serious  business  of  criticism. 

In  a  day  when  everything  is  measured  in  split 
seconds,  even  to  clocking  a  total  eclipse  of  the  sun 
and  limiting  a  cross-word  puzzler  to  the  time  it  takes 
the  South  Ferry  subway  to  make  Bowling  Green 
from  Brooklyn  Bridge,  it  is  meet  and  proper  that 


t$Leonore  Beivlay  (Mary  As- 
tor)  in  "Enticement,"  freed 
by  the  war  from  convention- 
alities, goes  to  a  small  town 
in  Switzerland  to  spend  a  va- 
cation ivitk  her  friend,  Richard 
Valryan  (lan  Keith). 


the  movies  should  glorify  the  elements 
of  time.  And  so  it  comes  to  pass, 
after  "The  Speed  Spook"  and  "The 
Fast  Worker,"  that  a  producer  tacks 
a  fillum  onto  the  second  hand  of  his 
watch  and  calls  it  "Super  Speed." 
It's  terrible,  the  pace  they're  setting 
us  poor  celluloid  meter  readers.  It's  enough  to  take 
the  breath  away  from  even  our  friend,  Mike,  who 
runs  the  chute-the-chutes  summertimes  down  at 
Coney  Island. 

It  seems  that  Claire  Knight — they're  never  any 
different  out  in  Hollywood — was  waylaid  by  a  gang 
of  thugs  one  morning  just  as  Pat  O'Farrell  was 
making  the  rounds  of  his  milk  route.  Pat  came  to 
the  rescue  and  revived  the  lady  with  a  quart  bottle 
of  Grade  A,  after  which  she  nominated  him  her 
butter-and-egg  man  for  the  rest  of  the  picture.  And 
thus  we  are  catapulted  into  one  of  the  most  desperate 
melodramas  that  ever  caused  a  milkman  to  forget  to 
collect  the  empties  on  your  back  porch. 

Claire's  father  was  a  manufacturer  of  motor  cars 


46 


SC REENLAND 


47 


■who  had  to  meet  a  lot  of  notes  on  a  certain  day  or 
assign  the  whole  Avorks  over  to  a  crooked  lawyer 
who  looked  very  much  like  Sheldon  Lewis.  Yes,  it 
was  Sheldon  Lewis.  So  Pat,  the  milkman,  locked 
(the  grey  mare  and  the  white  wagon  in  the  stable  and 
jprepared  to  win  the  road  race  which  would  sell  enough 
Knight  cars  to  lift  the  mortgage.  The  usual  things 
happened  which  almost  prevented  Pat  from  driving 
the  car,  the  Knight  won  the  day  and  the  milkman 
jgave  up  his  job  to  accept  a  junior  partnership  in  the 
.business  of  turning  out  enough  super-Knights  to 


figures  which  rank  the  intelligence  of  movie  goers 
somewhere  between  the  ages  of  eight  and  twelve." 
And  then,  seeing  "The  Parasite,"  we  were  almosl 
convinced  that  this  smart-aleck  reviewer  w  as  right. 

Before  plunging  into  the  hokum  of  the  thing,  the 
producers  of  this  film  introduce  a  foreword  to  recall 
a  case  in  Los  Angeles  not  so  long  ago  in  which  a 
woman  gave  her  blood  and  her  life  to  save  that  of 
her  little  nephew.  Possibly  you  remember  the  case 
Mrs.  Kelty  ?  Well,  anyway,  the  same  situation  is 
presented  in  "The  Parasite"  with  not  too  many 


sep  Claire  in  Grade  A  milk  for  the  rest 
['  her  life.  That's  the  story,  children, 
lid  it's  the  fastest  moving  thing  since 
ialley's  Comet.. 

Reed  Howes,  we  found,  was  a  most 
^rsonable  hero  in  a  characterization 
Inch  even  Reginald  Denny  couldn't 
improve  upon  one  whit,  and  Mildred  Harris  was  the 
;laire-est  Knight  that  ever  settled  over  the  Holly- 
|ood  hills.    You'll  like  this  movie  if  you  don't  try 

guess  who'll  win  the  road  race.  You're  bound  to 
|  it  right  the  first  time.  ■ 

#      *  * 

•On  the  way  over  to  see  the  new  Schulberg-Pre- 
'rred  production,  "The  Parasite,"  we  were  drawn, 
willingly  enough,  into  a  discussion  on  that  ancient 
gey  of  the  screen — Hokum.  One  of  the  reviewers 
a  contemporary  journal  of  the  cinema  was  re- 
imsible  for  a  statement  that  hokum  is  sometimes 
ry  true  to  life.  That  is  a  fact  you  may  take 
aight  or  diluted  in  a  lot  of  salt  water.  "It  all 
bends,"  quoth  our  contemporary,  "whether  or  not 
k  agree  with  the  scoffers  who  point  sneeringly  to 


Joan  Laird  (Madge 
Bellamy)  in  "The 
Parasite,"  rescues  lit- 
tle Bertie  [Bruce 
Guerin)  after  his  mo- 
ther's car  plunges 
over  a  cliff. 


dramatic  flourishes.  Of  course,  it's  not 
really  hokum,  you  know,  having  proved 
that  it  was  actually  based  on  something 
that  really  happened.  The  story,  in 
brief,  concerns  a  divorcee  who.  on  learn- 
ing of  her  ex-husband's  new  prosperity, 
attempts  to  win  herself  back  into  his 
good  graces.  At  a  party  she  tries  to  reconcile  herself 
to  the  child  but  the  kid  is  very  apparently  more 
friendly  to  daddy's  new  girl  friend.  The  mother 
kidnaps  her  son  and  in  the  chase  that  follows,  her 
car  plunges  over  a  cliff.  The  heroine,  pursuing, 
proves  herself  "the  greatest  mother  of  them  all"  In- 
going over  the  cliff,  rescuing  the  little  fellow  and 
bringing  him  back  to  his  dada.  Foil  ows  the  usual 
reunion — and  three  faces  turn  toward  the  sunset. 
It's  lovely.  Possibly  it  is  a  vindication  of  all  the 
Pollyanna  endings  that  ever  happened.  Owen  Moore 
and  Madge  Bellamy  have  the  leading  roles:  little 
Bruce  Guerin  is  the  innocent  bone  of  the  five  thou- 
sand odd  feet  of  contention;  and  Libyan  Tashman 
gives  an  excellent  performance  as  the  mother  who 
(Continued  on  page  72) 


EGINNERS'  CHANCES 


\" W e  are  anxious  to  secure  ?tezv  screen  faces  and  have  recently 
signed  up  a  number  of  unknoivn  players." 


\ 


^Lillian  Rich  found  her- 
self in  "The  Golden 
Bed." 


as  now  for  the  ambitious  player  to  succeed 
to  great  responsibilities.  "Whereas  the 
closed  door  and  frowning  casting  director 
have  been,  in  the  past,  the  lot  of  the  appli- 
cant for  movie  jobs,  all  this  is  changed. 

The  success  of  little  Betty  Bronson 
who.  is  now  numbered  among  the  great 
stars  has  not  been  lost  on  the  famous 
men  of  the  Famous  Players.  And 
other  companies  are  studying  the  girls 
in  the  small  parts  and  looking 
over  the  "extras"  with  a  care 
never  before  known. 

There  is  another  factor  in  this 
situation.     We  have 
grown  familiar  with  the 
old  stars  and  with  the 
old  stars'  sis- 
ters, and  with 
the  old  stars' 


<I  Frances  Howard  met 
screen  success  with 
"The  Swan." 


r.-ssT-OL'TH   wn^-    De   served — and   will  be 
Jl    screened,  if  Jesse  Lasky  has  his  way. 
Never  before  in  the  history  of  the  screen 
has  there  been  such  glorious  opportunity 


EVER 


ETTER 


y  y 


By  Jesse  L.  hasky 

PARAMOUNT  PRODUCTION  CHIEF 


sisters'  husbands,  and,  oftentimes,  with 
their  second  and  third  cousins.  It  seemed 
at  one  time  that  a  sure  way  to  get  into  the 
movies  was  to  be  connected  with,  a  star  by 
marriage,  and  then  your  histrionic  abilities 
would  be  recognized  immediately,  whether 
they  existed  or  not. 

The  good  work  done  by  the  well  known 
stars  has  extended  beyond  the  limits 
of  the  studio,  to  the  very  boundaries 
of  Fandom  itself,  until  the  ordinary 
movie  goer  knows  more  than  ever 
before  about  what  he  can  expect  from 
a  screen  player. 

The  wonder  of  tricky  photo- 
graphic effects,  gorgeous  settings 
and    elaborate    wardrobes  has 
passed.   It  is  a  blase  and  sophis- 
ticated audience  that  has 
to  be  entertained,  and 
this  is  only  possible  by 
using  talen- 
ted screen 
players. 


^Mary  Brian  — "Wendy" 
•will  be  "The  Little  French 
Girl." 


tjr'jfc 


^  Greta  Nissen  signed 
for  leading  roles. 


fll'era  Reynolds  icon 

-success  from 
of  Clay." 


'Feet 


^■Esther  Ralston 
•will  lead  "The 
Beggar  on  Horse- 


PRE-gyHOWING       OF       C^E  A  T  U  R  E  C/f 


I  L  M  S 


c<5fc 


^One  of  the  invaders 
of  the  Land  of  Oz 
disguises  as  a  lion 
to  save  his  skin. 


<&In  the  Foppy  Fields 
Larry  Semon  disguises 
as  the  Scarecrow  to 
give  the  Wizard  of  Oz 
{Charles  Murray)  a 
chance  to  work  his 
magic. 


1&  Oliver  (Babe)  Har- 
dy as  the  Tin  Man, 
Dorothy  Diuan  as 
Dorothy,  and  Larry 
Semon  disguised  as 
the  Scarecroiv. 


50 


51 


Pre-Jhowing     of     Creature  (J?1L 


M  S 


□ 


f^f  \  1\/T  J^TT  1\J  Q  T7  Warner  Brothers  present  Robert 
±-J  Lj  \JlVll    Pj  I  Vo Hi     Keahle's  novel  which  is  a  sequel 

to  his  "Simon  Called  Peter". 


HT/ie  joyous  abandon 
of  Armistice  Day! 
The  cup  of  Life 
brimming  over  ivith 
testacy. 

52 


*I  Peter,  an  A  r  m  y 
Chaplain  (Monte 
Blue),  and  Julie,  the 
gay  little  n  u  r  s  e 
(M  a  r  i  e  Prevost), 
carry  on,  nvar  or  no 
tvar. 


PRE-^HOWING       OF       CREATURE       C/^I  L 


M 


JEVEN  (^lANCES 


With 
Buster  Keatnn 


^Buster  Keaton,  Sev- 
en Million  Dollar 
Kid,  must  be  mar- 
ried by  5  o'clock  on 
his  twenty-seventh 
birthday  —  and  his 
best  girl  (Ruth 
Divyer)  turns  him 
down. 


^  The  news  leaks  out, 
and  Buster  is  simply 
carried  away  with 
emotion. 


30 


Pre-Jhowing     of     Creature  C/ilms 


laying  With  Souls 


UMary  Astor  and 
Jacqueline  Logan 
lead  Buster  Col- 
lier to  his  most 
important 
achievement. 


^At  the  tender  age 
of  20,  Matheiv 
Dale,  Jr.  (Bus- 
ter Collier),  be- 
comes engaged  to 
Mar  go  (Mary 
Astor)  and  then 
goes  to  Paris. 


€$Bricotte  (Jac- 
queline Lo- 
go?! fights  to 
hold  Iter  man, 
Matt,  Jr., 
'whom  she  has 
befriended  in 
Paris. 


*§But  after  his 
mad  debauch 
in  Paris,  M att, 
Jr.,  succeeds 
i  n  bringing 
his  erring  pa- 
rents together , 
and  finally 
marries  Mar- 
go  and  they 
live  happily 
ever  after  - — 
etc.,  etc. 


MB 


Po-Jhoving     of     Creature  (Jy 


L  M  S 


(Declassee 


The  film  of  Zoe 
A  kins'  Play. 


<J  With  Lady  Helen 
H  a  d  e  n  (Corinne 
Griffith)  and  Ru- 
dolph Solomon 
(dive  Brook). 


Corinne  Grif- 
fith, though 
the  tempter 
implores,  re- 
ma  i n  s  un- 
moved. 


^Lady  Helen  cannot 
forget  Ned  Thayer 
(Lloyd  Hughes) 
iv/iom  she  banished. 


•J Alone  and  penniless 
in  America,  Lady 
Helen  is  cornered 
on  the  hotel  sofa,  but 
she  keeps  her  skirts 
clear. 


N  e  w  Jj*  i  ves  m  O  Id 


pRE-^HOWING       OF       CREATURE  C/lLMS 


«lHuffh  (Wal- 
lace Macdon- 
ald)  bids 
Olympe  fare- 
well before 
leaving  for 
the  line  of  ac- 
tion in  France. 


<JjDc  Montri  chard 
(Theodore  Kosloff) 
welcomes  Olympe 
(Betty  Compson) 
back  to  Paris  tvitk 
a  gracious  salute. 


<J  Olympe  dan- 
ces at  the  cafe 


f^Hugh  and  Olympe 
•with  Peter,  the  duck, 
march  at  the  head  of 
the  American  troops. 
A  war  well  won 
and  hearts  well  lost. 


57 


■ 


T  PWS    f^f\rl\}    Looking  exactly  the  way  every  man  in  the 
K^UUy    world  thinks  he  looks  on  an  "occasion". 


hat  the  WELL  DRESSED 


S3 


41 


I 


Photographed  by  Pach  Bros. 

t                                It  is  an  essential  part  of  this  costume,  the     TZpff  T  <X)fpl] 

nonchalant,  careless  thoroughbred  manner.    ±JVi  L  J^yiVli 

f\\  KIK  will  WEAR 


<2> 


RAMALAND 


How  good  little  stage  plays  become  movie 
successes  and  live  forever 


17"  law  Theatre,  January  19,  1925 — 
x^  They  Knew  What  They  Wanted 
is  the  name  of  Sidney  Howard's  play ; 
and  the  movies  if  They  Know  What 
is  Good  for  Them  will  buy  it  and  put 
it  on.    Here  is  the  reason : 

Reel  One — Tony  is  the  kind  of  part 
George  Beban  would  sell  his 
soul  for.    You  know  the  ten- 
der  heart-wringing   sort  of 
part  I  mean.   Well,  Tony  has 
grown  rich  on  his  vineyard 
in  California,  and  the  play 
opens  on  the  day  of  his  wed-  i 
ding.    Amy,  the  girl  he  is  ~ 
going  to  marry,  worked  in  a  Dago 
restaurant  in  San  Francisco  and  Tony 
saw  her  there  just  once  and  carried 
on  the  rest  of  his  courtship  by  cor- 
respondence.   It  seems  he  sent  her  a 
picture,  too.    But  not  of  himself;  he 
sent  one  of  a  young  '  good  looking 
worker  of  his. 


By  yiyron  TLobel 


l  Harry  K.  Morton 
and  Odette  Myrtil 
in  "The  Love  Song." 


Reel  Two — Amy  arrives  from  Fris- 
co and  there  is  nobody  down  to  meet 
her.  Tony  had  started  down  in  the 
Ford  but  somehow  failed  to  find  her. 
Amy  comes  up  to  the  house 
and  is  met  by  Joe.  Now  Joe 
is  the  one  whose  picture  was 
.  sent  her  and  so  she  thinks  it 
I  is  Joe  she  is  to  marry.  It 
seems  the  poor  gal  was  so 
|  sick  of  serving  spaghetti  that 
when  she  got  the  letter  of  pro- 
posal she  made  up  her  mind 
to  marry  no  matter  what  the  hus- 
band looked  like.  Blanche  Sweet 
was  made  to  play  the  part  of  Amy, 
and  Joe  is  the  kind  of  a  role  that 
Jack  Holt,  for  example,  might  play, 
if  he  weren't  a  star. 


"Love  and  Hierarchy"  in 
Balieff's  neiti  Chauve- 
Souri.s,  under  the  direction 
of  Morris  Gest. 


60 


■ 


Reel  Three — Tony  is  brought  in  on  a 
stretcher.  The  Ford  had  gone  over  a  cliff 
in  his  "wild  ride  to  meet  Amy.  However 
the  legs  are  set,  and  that  very  afternoon 
the  marriage  takes  place.  After  the  wed- 
ding supper  Tony  is  put  to  bed  for  the 
night  and  Joe  comes  back  to  say  -good- 
bye to  Amy.  He  is  leaving  in  the  morning 
for  another  job.  It  is  then  that  Amy  shows 
that  she  loves  Joe  and  not  her  husband,  and 
she  dashes  out  into  the  night  followed  in 
full  pursuit  by  her  ardent  lover. 
~  Reel  Four — Tony  has  recovered,  and  his 
kindness  and  big-heartedness  toward  Amy 
have  quite  won  her  love.  In  fact  every- 
body loves  Tony  and  hates  to  see  him  hurt 


IjMarie  Saxon  in  "My  Girl." 


in  any  way.  And  he  is  about  to  be  hurt. 
Badly  hurt.  It  seems  that- Amy  is  about 
to  have  a  baby.  It  is  all  the  result  of  that 
mad  moment  when  Amy  rushed  out  into 
the  night.  (I  don't  know  how  the  censors 
are  going  to  get  around  this  situation. 
Maybe  they  can  prove  that  Amy  was  the 
wife  of  somebody  else  by  a  former  mar- 
riage) Of  course  Joe  is  the  father.  And 
what  will  Tony  say? 

Reel  Five — Amy  and  Joe  prepare  to  ?o 
away  together.  Just  at  that  moment  Tom- 
hobbles  in  on  his  crutches.  Amy  tells  him 
all.  He  raises  his  crutch  as  if  to  strike 
her  when  Joe  appears  in  the '  doorway. 
Tony  limps  to  where  his  rifle  is  hanging. 
Tony  and  Joe  struggle.  Tony  falls,  his 
half-crippled  limbs  giving  way  beneath 
him.  As  he  falls  he  clutches  Amy's  skirt. 
He  will  not  let  her  leave  him.  He  tells  her 
he  will  take  care  of  her  child  as  though 
it  were  his  own.  He  tells  her  he  loves  heir 
enough  to  forgive  her.  He  is  glad  she  i> 
going  to  have  a  baby  ;  he  has  always  wanted 
a  baby  to  leave  his  money  to.  Amy  is  con- 
vinced.   She  stay-..    And  Joe  leaves  with 


an 


tlie  philosophical  remark  that  "No  one  ain't  got  no 
kick  coming — leastwise  not  much  of  a  one."  They 
knew  what  they  wanted.    They  got  it. 

Belmont  Theatre,  January  20,  1925— "Mrs.  Part- 
ridge Presents—"  a  new  comedy  by  Mary  Ken- 
nedy and  Euth  Hawthorne,  is  the  kind  of  a  play 
that  Pauline  Fredericks  would  enjoy  doing.  Now 
listen  to  this,  children,  and  see  if  you  don't  agree 
with  me : 

Reel  One — Mrs.  Partridge  is  a  woman  of  forty  with 
a  son,  a  daughter  and  a  career.  The  career  is  her 
own  creation ;  the  son  and  daughter  required  the  co- 
operation of  her  husband— whose  memory  she  does 
not  revere — so  of  course  she  prefers  the  career  to 
the  children. 

Reel  Two — Now  it  happens — as  so 
often  is  the  case—  that  Delight  and 
Philip  do  not  agree  with  Mama  as  to 
their  own  careers.    For  Mama 
has  decided  that  Delight  shall 
be   an  actress  and  Philip  an 
artist.    Philip  wants  to  be 
engineer  and  a  regular  fel- 
low.   Delight  wants  to  be 
a    wife    and    a  regular 
mother.    And  she  has  the 
young  man  all  picked  out. 
His  name  is  Sydney  Arm- 
stead. 

Reel     Three— Mama's 

career  is  hats  and  gowns 

and  she  has  risked  it  all  by 

mortgaging  the  business  in 

order  to  buy  Delight  a  part 

in  a  new  musical  comedy. 

Sydney  objects  to  Delight 

going  on  the  stage.  (He 

has  old-fashioned  ideas 

about  such  things,  you  see). 

Mama  insists.    Delight  is 

torn  between  filial  affec- 
tion and  marital  passion, 

if  you  get  what  I  mean. 

Reel  Four — It  is  the 
opening  night  of  the  musi- 
cal comedy.  Also  the  open- 
ing day  of  Mama's  new 
hat  shop.  Mama  is  em- 
ploying all  her  executive 
ability,  maternal  resource- 
fulness and  angelic  patience 
all  at  once.  (Can't  you 
just  see  Pauline  Fredericks 
doing  that!)  Enter  Syd- 
ney and  demands  why 
Mama  refuses  him  the 
hand  of  Delight  in  mar- 
riage. Because,  says  Mama, 
you  are  a  regulation  nice 
young  man  who  is  willing 
to  trade  your  respectable 
name  for  all  the  romance, 
originality  and  spirit  of  my 
daughter's  life. 

Reel  Five — Enter  Philip 
and  declares  that  he  does 
not  want  to  be  an  artist. 
The  ticket  is  bought  for 


the  engineering  trip  to  Spain.  Mama  agrees  reluc- 
tantly, for  another  ambition  of  hers  has  been  snuffed 
out.  But  her  vitality  returns,  and  she  throws  her- 
self whole-heartedly  into  the  work  of  opening  the 
new  hat  shop. 

Reel  Six — Enter  Delight  and  Sydney.  They  are 
married  and  Delight  is  not  going  to  open  in  the 
musical  comedy  in  which  Mama  has  sunk  all  of  her 
money.  Mama  at  this  point  is  nearly  sunk  herself. 
But  Sydney  has  plenty  of  money  and  agrees  to  make 
up  the  deficit.  And  the  new  shop  is  about  to  open. 
Mama  therefore  still  has  something  to  occupy  her 
mind.  She  is  saved  again.  It  is  another  case  of 
every  one  knowing  what  he  wanted  and  getting  it 
in  the  end. 


EA2i 


is 


WHAT'S  WRONG  WITH  THIS 
PICTURE? 

^Our  own  etiquette  lessons. 

(^Constance     Talmadge,    Antonio  Moreno, 
and  a  terrible  "faux  pas." 

<J Answer:    He   kept,  his  hat   on,   and  "She 
thought  lie  was  a  fish." 


Carroll  Theatre,  January 
1925.  Desire  Under  the  Elms 
a  typical  Eugene  O'Neill  play 
written  by  Eugene  0  'Neill.  The 
only  part  of  the  play  that  is 
suitable  for  movie  production 
is  the  title  and  they  would  have 
to  cut  the  elms  out  of  that. 

Reel   One — E  phi*  aim 
Cabot  is  a  God-fearing  New 
England   Farmer   of  the 
very  old  school.    He  still 
.\.        believes  in  a  personal  Hell 
'  f-:,~'      and  tries  to  illustrate  it  by 
I  his  treatment  of  his  child- 

I    ;       ren.    Of  these  he  has  three 
fj"  j      — Ebben,    Simeon  and 
M   ]      Peter.    Get  those  names; 
then  tune  in  on  the  story. 
Reel  Two — Ephraim  has 
]j  *  ;      just  taken  unto  himself  a 
third   spouse.     A  comely 
wench  is  she.    Simeon  and 
§f  Peter,  sons  of  the  first  of 

these,  are:  tired  fi  their 
charming  home-life  amidst 
the  beauties  of  a  rocky  farm 
W         and  strike  out  for  Calif  or- 
I         n-i-ay.     But    not  before 
they  have  roundly  cursed 
their  father  and  his  bride 
and  been  roundly  cursed 
by  both  of  them  in  turn, 
j    '      All   in   the  best  O'Neill 
1  manner. 

Reel  Three — Ebben  re- 
mains  because  he  feels  that 
the  farm  is  rightfully  his. 
I  He  is  the  son  of  the  second 

wife  of  Ephraim,  and  he 
jlfcggj  hates  his  father  with  a  par- 
ticularly bitter  hate  be- 
,  cause  he  feels  that  Ephraim 
has  killed  his  mother  by 
abuse  and  cheated  him  out 
of  his  inheritance  from  her. 

Reel  Four — Abbie — that 
is  the  third  Mrs.  Cabot — 
neither  loves  nor  under- 
stands Ephraim.  But  she 
knows  that  her  husband 
wants  a  son.  He  has  pro- 
(Contimied  on.  page  72) 


62 


QMae  Mur- 
ray and  the 
dancing e  st 
legs  on  the 
screen  —  in 
"The  Mer- 
ry Wi- 
dow." 


OSSIP 

from 

SCREEN 
LAND 

By  H.  B.  K.  Willis 


<&The  thing 
about  Mae 
is  she  al- 
ways  lands. 


Dear  zJhtadam,  zjfrl/ss,  or  What  lAre  TTou? 


loria  Swanson  and  Estelle  Taylor  are  the 
lasses  on  whom  Fortune  has  smiled. 

Gloria  has  gained  a  marquis  and  a  place 
in  the  Almanach  du  Gotha.  Estelle  mar- 
ried the  Buddha  of  Boxing-,  Jack  Dempsev,  heavy- 
weight champion  of  the  world. 

Gloria  has  had  a  long,  hard  fight  from  the  very 
bottom  of  the  cinema  ladder  to  a  high  and  dizzy  rung. 
Twice  matrimony  has  given  her  a  fillip  instead  of 
affection.    The  little  Gloria  whom  she  shields  so 
carefully  is  all  that  is  left  of  her  romance  with 
Herbert    Somboru,  millionaire 
clubman.    She  never  speaks,  her 
intimates  say,  of  the  headlong 
affair  of  her  bathing  girl  days 
at  Mack  Sennett's  with  AVallie 
Beery,  celebrated  "villain"  of 
today. 

Comparatively  few  ever  heard 
of  the  marquis  until  Gloria  be- 
came his  marchioness.  Every 
one  thought  a  marquee  was  a 
gaudy,  gigantic  umbrella  for  a 
garden  party.  Though  she  is 
now  the  Marchioness  de  la  Falaise, 
to  all  the  movie  world  she  will  ever 
be  Gloria. 

She  stoutly  affirms  she  didn 't  marrv 

„  cn  j.  '  routine  Garon- 

for   a   title.     She   wants   six   more        second  lead  in 

World." 


babies!  The  maternal  has  always  been  strong  in 
Gloria.  The  care  with  which  she  administered  her 
gorgeous  Beverly  Hills  mansion,  in  which  the  only 
loving  note  was  the  piping  voice  of  her  daughter, 
always  attested  that. 

Estelle  Taylor  is  simply  telling  the  world  of  her 
love  for  Jack  Dempsey.  He  renounced  the  bejewel- 
led  belt  and  title  as  champion  of  the  prize-ring  to 
please  her.  She  says  she  would  marry  him  if  he-  had 
never  won  renown,  for  it  was  a  case*  of  love  at  first 
sight  through,  the  door  of  a  telephone  booth  in  little 
Old  New  York  eight  years  ago 
when  she  was  studying  drama- 
tics and  Dempsey  the  "rabbit?' 
punch.  He  became  heavyweigh- 
champion  two  years  later. 

''I  learned  to  love  him  when 
I  learned  to  rely  on  him.  "  Estelle 
says.     "One    day   there  was 
rather   serious   trouble   at  the 
studio.   I  went  to  Jack  and  wept 
on  his  shoulder.  He  straightened 
all  the  troubles  out.     He  was 
a  real  friend.    His  advice  was 
impersonal.     He  didn't  try  to  take 
my  hand  and  say.  'There,  there  little 
girl,  let's  go  to  a  show  and  talk  this 

-is  to  have  the     f11  over- '    Tt  was  theu  1  discovered 
"Rose  of  the     bow  much  I  needed  him. 


65 


' '  Why  I  would  have  married  J ack 
if  he  had  never  whipped  anybody 
in  his  life.  I  love  him  because  he  is 
a. real  man  with  a  big,  kind  heart," 
she  exclaimed. 

There  is  a  little  sentiment  attached 
to  Wallace  MacDonald's  appearance 
on  the  Lasky  lot,  opposite  Miss 
Compson,  in  "New  Lives  for  Old," 
For  eight  years  he  has  worked  in 
pictures  and  worked  hard.  All  this 
time  he  has  longed  to  appear  in  a 
Paramount  picture  made  in  the 
Famous  Players-Lasky  Hollywood 
studio.  He  has  been  a  close  friend 
of  many  of  the  company's  biggest 
officials  and  directors  but  has  never 
asked  for  work  there.  His  role  with 
Miss  Compson  is  the  culmination  of 
eight  years  of  hoping. 

Wallace  MacDonald  is  a  Canadian. 
He  served  three  year  in  the  Cana- 
dian expeditionary  forces  during  the 
World  War.    Doris  May,  a  screen 


f^The  Mar- 
quise and  the 
Marquis  de 
la  Falais  de 
la  Coudraye. 
Mr.  and 
Mrs.  Gloria 
Sivanson. 


€J  The  'versatile  Wal- 
lace MacDo  n  a  I  d 
has  arrived.  Fam- 
ous Players  gave 
him  the  lead  in 
"New  Lives  for 
Old"  with  Betty 
Compson. 


f§,Norma  Shearer  as  a  "Lady 
of  the  Night"  It's  her  first 
bad,  had  girl  part. 


favorite  before  she  retired  to  devote  herself  to  her  home, 
is  his  wife. 

*      #  # 

There  have  been  but  a  few  movie  meteors  the  last  few 
months  but  then  suddenly  a  whole  new  crop  of  phe- 
nomenal successes  appeared  to  clutter  up  the  cinema  sky. 
"Peter  Pan"  has  been  a  fairy  story  in  more  ways  than 

0nEvery  one  is  familiar  with  the  story  of  Betty  Bronson 
and  how  she  put  the  noses  of  many  filmlanders  out  of 
joint  by  winning  the  James  Barrie  role.  The  story  of 
her  screen  test  and  its  effect  on  Sir  James  has,  for  the 
moment,  eclipsed  an  equally  amazing  ascent  to  stardom. 

Do  you  remember  Wendy— charming  little  mother 
of  the  little,  lost  boys?    That  was  Mary  Brian  who 
has    just  turned 
:  sixteen.     What   a  * 
pair  of  lovable 
youngsters  they 
make,    Mary  and 
Betty.     Both,  are 
as  full  of  persona- 
lity and  talent  as 
an  ice  cream  soda 
is  of  bubbles  but 
each  is  as  unspoiled 
as  a  grandmother- 
less  infant. 


atsy  Ruth  Miller  is  the  leading 
and  climbing^  lady  in  "Lorraine 
of  the  Lions." 


64 


Next  Mary  Brian  will  be  seen  in  the  title  role  of  "The 
Little  French  Girl."  And  if  that  isn't  a  story  about  fairy 
land,  we'll  buy! 

There  is  something  about  Mary  Brian  that  just  hits  you 

right  in  the  eye.  It  isn't 
her  ingenuousness,  nor 
her  beauty  nor  her  charm. 
I  guess  it's  her  sympathy. 
She  makes  a  fellow  feel 
that  he  really  amounts  to 
something  after  all.  To 
win  a  smile  from  her  is 
like  taking  a  drink  of 
heady  wine,  something  to 
j  be  remembered  these  arid 
!  days. 


^Dagmar  Desmond  is  Elinor 
Glyn's  latest  recruit  from 
the  haute  monde,  and  has 
a  part  in  "Man  and 
Maid." 

The  constant  cry  of  producers 
of  "Give  us  new  faces!"  must 
account  for  the  big  sales  of  cos- 
metics in  Camaradia.  And  then 
there's  plastic  surgery.  But 
there's  so  much  GRAFT  in  that 
#     #  # 

Dorothy  Sebastian  is  another 
one  of  the  over-night  *  heroines. 
She  hit  Hollywood  from  some 
little  Southern  tank-town  and 
walked  right  into  the  Lasky  lot 
without  even  a  letter  to  the  pub- 
licity department  and  without 
asking  her  way. .  Her  gate- 
crashing got  her  a  part  and  now 
she  has  a  five-year  contract. 
i.^s"-1  '  "     *     *  * 

Sally  Rand  is  also  up  in  the 
front  rank  furnishing  the  answer 
to  the  question  "Why  Girls 
Leave  Home."  She  used  to  be 
Billye  Beck,  an  Orpheum  head- 
liner,  when  sh.e  was  wedded  to 
vaudeville.  She  was  determined 
to  do  nothing  else  and  did  so 
until  Dame  Fate  stepped  in. 
Billy,  now  Sally,  was  playing 
Sacramento  when  she  was  sud- 
denly taken  ill,  rushed  to  a  hos- 
pital and  operated  on  with  true 
medical  dispatch.  When  she 
was  convalescing  she  realized 
that  she  had  lost  her  job  along 
with  her  appendix,  for  the  act 
had  to  leave  town  without  her. 

Hence  she  embarked  for  Holly- 
wood pot  o'gohl  for  so  many 
j  ousters  with  fortune.  She 
brought  with  her  a  filet  mignon 
appetite  and  a  ham  sandAvich 
pocketbook.  Sally  is  quite  a 
sensible  young  thing  and  realized 


•I  Valentino  and 
Jack  Dempsey. 


•ho 


^Colleen  Moore,  a  Baby  Star  of  1922,  is  seen  he: 
.  with  the  $1,000.  cup  -voted  to  the  "Baby" 
made  the  greatest  advance  in  artistry  and  popu 
laxity.  Miss  Moore  is  confined  to  her  bed  on  ac 
count  of  injuries  received  on  location  and  on  he 
vertebra  while  making  "The  Desert  Flower." 


Norman  Kerry 
and  the  ballet 
girls  in  "The 
Phantom  of  the 
Opera." 


that  she  is  quite  good 
to  look  upon ;  so  she 
hobbled  over  to  Mack 
Sennett's  studio  and 
asked  for  a  job. 

She  was  given  one 
for  seven-fifty  a  day. 
She  had  been  getting 
$150  a  week  in  vaude- 
ville, but  still  $7.50 
was  $7.50  and  more 
ham  sandwiches. 

"If  you'll  do  a 
sixteen-foot  dive  into 
the  tank  I'll  give  you 
fifteen,"  the  casting 
director  proposed. 

Sally  made  the  dive 
and  the  fifteen  dollars. 

Sally,  then  Billye. 
worked  for  Sennett. 
Christie  and  Roach 
before  Harry  Carroli 
opened  his  s  h  o  w. 
"Pickings."  at  a  Lo> 
Angeles  theater.  The 
lure  of  the  stage  was 
strong  so  she  took  a 
job  dancing  in  it. 

Cecil  B.  De  Mille, 
one  of  the  mighty  on 
the  Mount  Olympus 
of  the  Movies,  saw 
her  there  and  sum- 
moned her  to  the 
studio  for  a  screen 
test.    He  thought  she 


66 


SCREENLAND 


f^Jack  Hoxie  takes  it  easy,  but 
'when  it  comes  to  working  that 
is  a  horse  of  two  other  colors. 


would  do  for  the  leading  feminine  role, 
in  "The  Golden  Bed,"  but  she  photo- 
graphed too  young  and  lacked  sophis- 
tication. He  did  give  her  a  smaller  part 
in  the  production,  however,  and  this 
won  her  a  long  term  contract. 

Cecil  is  a  great  bird  for  nice  labels 
on  his  leading  women,  and  Billye  Beck 
did  not  come  liltingly  enough  from  his 
tongue.  But  Sally  Eand  did.  And 
that's  that. 

"  I 'm  wedded  to  me  art, ' '  she  said, 
"To  which  I  owe  my  wealth  and  fame." 
The  interviewer  did  not  know 
That  Arthur  was  her  husband's  name. 

They're  playing  "Hail!     The  Con- 
quering Hero  Comes!"  in  Spanish  over  in  Campamento. 
Antonio  Moreno  is  home  with  his  lovely  American 
senora.    It  would  be  interesting  to  record  his  emotions. 

His  trip  back  home  should  be  as  colorful  as  a  Casti- 
lian  shawl.  The  son  who  leaves  home  to  seek  his  fortune 
and  returns  famous  and  wealthy  is  interesting  whether 
Horatio  Alger  or  Maurice  Maeterlinck  writes  about  him. 
"We  all  like  to  read  about  such  heroes,  but  Tony  is  living 

Picture  little  Tony  many  years  ago.  A  gay  red  cap 
on  his  dark  curls.  Striped  stockings  on  his  sturdy  legs. 
A  bread  basket  swinging  on  his  arm.  That  is  Tony,  the 
baker's  boy,  making  his  nightly  deliveries  of  pan  m 
Campamento,  Spain.  Music  and  laughter  streams  out 
from  a  hotel  where  wealthy  Americanos  are  wont  to 
stop.   The  band  halts  Tony's  progress.   The  lively  notes 

intrigue  him.  .  , 

Two  Americans  notice  the  picturesque  little  chap. 
They  offer  him  candy.     He  puts  it  in  his  pocket. 


They  ask  him  why  he  doesn't  eat  it.  He  tells 
them  it  is  for  his  mother. 

That  thoughtfulness  for  his  mother  changed 
the  entire  current  of  the  life  of  Antonia  Garrido 
Monteagudo  Moreno.  One  of  the  Americans 
was  Benjamin  Curtis,  nephew  of  Seth  Low,  New 
York  politician,  and  the  other  was  a  Cuban, 
(this  is  supposed  to  be  funny),  Enriehe  de  C. 
Zanetti,  sugar  planter.  They  took  Tony  home 
and  met  the  mother  who  was  more  than  life  itself 
to  the  little  tyke. 

As  a  result  Tony  toured  Spain  with  them. 
Later  he  came  to  them  in  America  where  they 
sent  him  to  school.  The  rest  of  the  tale  has  oft 
been  told. 

The  picture,  "Find  Your  Man,"  makes  some 
of  the  Hollywood  stars  feel  self-conscious.  It's 
taken  some  of  them  a  long  time  to  accomplish 
this  by  what  our  omniprescient  friends,  the 
psvchologists,  call  the  "trial  and  error"  method. 
Irene  Rich  has  joined  the  long  caravan  of  cine- 
ma great  names  bound  for  Europe. 
But  instead  of  taking  the  trip  as  a 
V  junket  she  is  taking  her  youngsters, 

Frances  and  Jane,  along 
so  that  they  may  benefit 
by  Continental  contacts. 
Irene  is  a  splendid  act- 
ress but  there  is  some- 
thing Irene  can 
do  better  than 
act.   She  's  a  bet- 
ter mother.  In 
making  her 
plans  she  always 
thinks    first  of 
her  children. 
She  is  going  to 
let  them  choose 
their    own  ca- 
reers. 

And  speaking 
of   bigger  and 
better  mothers, 
what    about  Leatrice 
Joy  ?  A  few  months  ago 
Leatrice    declared  she 

<JMV.  and  Mrs. 
Antonio  Mo- 
reno in  the 
garden  of 
their  home. 


f^Anne  Corn- 
wall, one  of 
the  1925  Baby 
Stars.  D  i  d 
you  see  "The 
Roughneck" ? 


SCREENLAND 


07 


was  going  to  let  the  rest  of  t lie  world  go  by  for  her  baby. 
She's  back  at  the  studio  again  and  finds  that  her  work 
does  not  spell  neglect  of  her  maternal  *esponsibilitics. 
A  glance  at  the  baby  proves  that  she'  does  not  lack  for 
mother-love. 

Six  years  ago  Lilyan  Taslnnan,  a  Follies  girl,  met 
Edmund  Lowe,  Broadway  actor.  Their  trails  parted. 
He  came  to  Hollywood  while 
she  remained  on  Broadway-on- 
the-Gilt.  A  few  years  later  she 
came  out  here  to  play  one  pic- 
ture part.  She  is  still  here. 
Edmund  and  Lilyan  are  now 
engaged  and  report  has  it  that 
they  will  marry  this  summer. 

It  is  a  shame  Lilyan 's  voice 
will  not  register  on  the  screen. 
It  is  a  deep  contralto  which 
has  the  cello  tones  the  roman- 
cers write  about. 

Ian  Torrence,  son  of  Ernest, 
is  learning  pictures  from  the 
ground  up.  He  attends  school 
nine  months  out  of  the  year 
but  last  vacation  got  himself 
a  job  as  property  boy  at  one 
of  the  studios  without  any  help 
from  his  celebrated  Pa.  He 
got  the  job  first  and  told  father 

about  it  second.  „  -lt  a 

watches 


ijMary  Brian — 
our  little 
"Wendy"  try- 
ing to  look 
grown  up. 


Stewart 
the  vil- 
lain, Arthur  Ed- 
mund Car  ewe. 
What  happens 
when  a  director 
has  imagination 
and  a  cute  star? 


<J  Edmund  Lowe 
and  Lilyan  T ash- 
man decided  they 
couldn't  be  friends 
all  their  li-ves — 
so  they're  getting 
married. 


Pola  Negri  has  purchased  Priscilla 
Dean's  Beverly  Hills  home  and  is 
spending  all  her  spare  time  in  land- 
scape gardening.  She  spent  $15,000 
for  Oregon  pine-trees  so  she  could 
hear  them  soughing  in  the  night  as 
they  do  and  did  in  Poland.  One 
should  be  able  to  get  a  lot  of  Poland 
souths  for  fifteen  thousand. 


q  Sally  Rand, 
formerly 
Billye  Beck 
of  the  com- 
edies, got  a  part  in 
"The  Dressmaker 
from  Paris.''  This 
is    reaping  where 
she  doesn't  "sew." 


Elinor  Glyn  is  sot  on  making 
society  folk  appear  in  her  pic- 
tures. Dagmar  Desmond  is  her 
latest  reer\ut~Yi'uissr-^h^}iaute 
mondc,  whatever  that  is.  She 
is  said  to  be  the  wife  of  a  prominent 
Fresno.  Calif.,  banker.  Sirs'.  Glyn 
met  her  at  a  reception  given  by  a 
member  of  the  exclusive  set.  It 
doesn't  seem  very  difficult  to  induce 
amateurs  to  attempt  inovie  roles. 
Miss  Desmond  is  playing  in  "Man 
and  Maid."  No,  Gretchen,  she  isn't 
'playing  either  of  the  title  roles. 
She's  a  war  widow. 

Apropos  of  Elinor  one  cannot  but 
help  recall  her  meeting  with  Charlie 
Chaplin.  They  met  at  the  home  of 
Sam  Goldwyn  at  a  smart  function. 

Elinor  looked  at  Charlie.  Charlie 
looked  at  Elinor.    She  frowned. 

"You're  not  as  funny 
as  I  thought  you'd  be," 
said  she. 

"Well,"  said 
Charlie.  "For  that 
matter,  neither  are 
you." 

Mrs.  Charlie 
Chaplin  wants  her 
husband  to  estab- 
lish a  big  trust 
fund  for  their  baby 
which  is  to  be  born 
in  a  few  months. 
But  Charlie  is  re- 
ported as  declaring 
that  step  as  a  bit 
premature.  Any- 
wav,  she 's  pur- 
c  ha  s  e  d  a  $1200 
lavette. 


"A  •word  of  praise,  a  tender  glance — 
Will  make  an  actor  sing  and  dance." 


E 


By  Marion  ^Hole^/ood 


They  Say — 

he  slump  is  over  .and  the  Honorable  Mr. 
Stork  of  Hollywood  is  on  the  job  again. 
He  started  by  bringing  young  Mr.  For- 
est .  Burton,    late    of   the  Never-Never- 
Land,  to  the  home  of  Clarence  Burton,  well-known 
screen  villyun.   Clarence  is  thrilled — no,  not  exactly 
thrilled.    All  I've  got  to 
say  is  that  unless  you  have 
a  couple  of  hours  to  spare, 
don't  let  him  button-hole 
you !     The  other  day  he 
tried  to  tell  me  the  kid  was 
lost ;    they    searched  all 
morning  for  him  and  at 
last   caught   him  up  the 
street  playing  ball  with  the 
Hal  Roach  "Our  Gang" 
bunch ! 

Then  there's  Mr.  and 
Mrs.  Charles  Chaplin  and 
Mr.  and  Mrs.  Herbert  Raw- 
linson  to  be  taken  care  of. 
Both  families  are.,  satisfied 
to  wait  quite  a  while  yet, 
but  Herb  has  definitely  de- 
manded a  boy !  Have  a 
heart,  Herb !  In  all  this 
bunch  of  film  babies,  there's 
a  terrible  scarcity  of  girls 
— twenty  years  hence 
they'll  be  having  duels-  out 
here  to  decide  who'll  take 
little  Miss  Joy  and  Miss 
Gloria  Lloyd  to  the  "Mont- 
mart  re."  j 

They  my — - 

Out  Hollywood  way  the 
domestic  troubles  of  Wil- 
liam S.  and  Winifred  West- 
over  Hart  are  being  aired 
in  the  public  courts  to  the 


^Norma  Shearer 
and  her  n  e  w 
shawl.  Her  next 
picture  will  be 
"The  End  of  the 
World." 


advantage  of  the  daily 
newspaper  head-line 
artists,  and  with  the 
little  tow-headed  Bill, 
Jr.,- — a  chip  right  off 
the  old  block — getting 
his  first  taste  of  court- 
room life  via  the  divorce  tangle  route.  I 
don't  know  anything  about  Mrs.  Hart's 
part  of  the  story — there  always  are  two 
sides  to  every  story — but  I  do  know  Bill 
Hart,  and  there  isn't  one  of  us  out  here  in 
Hollywood  who  wouldn't  be  telling  you  that 
if  you  have  Bill  for  a  friend  you  can  be 
doing  without  a  whole  lot  of  other  things. 
And  when  a  fellow  comes  along  who  is 
as  full  of  real  deep-hearted  romance  and 


^  Shirley  Mason 
testing  her  bath- 
ing suit  under 
the  shower  to 
make  sure  it 
won't  shrink. 
"This  lias  gone 
gone  far  enough," 
says  Shirley. 


^  Betty  Blythe  and 
Victor  MacLag- 
len.  Two  suc- 
cessful physiques 
— o  7i  e  has  a 
"kick"  and  the 
other  a  wallop. 


68 


honor  as  Bill  is,  it's  a  shame  to  see  the  whole 
castle  come  tumbling  clown. 

Tell  me,  what  is  success?  Little  Ann  Corn- 
wall (about  100  pounds  of  her)  has  mo- 
tion picture  success  firmly  clasped  in 
her  two  small  hands,  with  scarcely  a  chance  of 
it  slipping  between  her  fingers.  Of  all  the 
1925  W  amp  as  Baby  Stars,  of  which  she  has 
been  chosen  one,  she  undoubtedly  is  the  nearest 
to  stardom.  The  last  year  and  a  half  has  brought 
her  parts  which  many  stars  could  covet. 

But  Ann  Cornwall's  real  success  is  not  in  the 
movies.  You  all  know  Charles  Maigne,  the 
director.  He's  her  husband.  And  that's  where 
Ann's  real  success  comes  in!  For  two  and  a 
half  years  I've  watched  them  come  and  go, 
always  together.  They're  called  the  "happiest 
couple  in  Hollywood." 

Yes,  Ann  is  a  big  success — the  biggest  success 
any  woman  can  be —  for  she's  a  successful  wife, 
— a  successful  home-maker. 

After  months  of  worry  and  waiting,  I  dis- 
cover that  Gareth  Hughes  has  not  forsaken  us 
for  the  well-known  European  Continent.  His 
sojourn  abroad  is  over,  and  soon  he'll  appear  in 
vaudeville  in  a  little  skit  written  by  none  other 
than  Joe  Jackson,  aide- 
de-camp  to  Monsieur  the 
Sheik,  Rudolph  Valen- 
tino. 

While  everybody's 
"wondering  what's  be- 
come of  Sally, ' '  has  any- 
body stopped  to  wonder 
what's  become  of  little 
Lucille  Rickson,  of  the 
sweet  smile  and  golden 
hair?   Last  year  Lucille 
was  one  of  the  Wampas 
baby  stars — with  fame 
and  fortune  right  in  her 
grasp.    This  year  she's 
a  little  tired,  and  she's 
always  "just  resting"  in 
iher  little  white  bed  over- 
looking the  Hollywood 
town.   She  mustn 't  work 
so    hard,     that's  the 
trouble,  the  doctor  says, 
and  that  little  dry  cough 


^Frances  Howard 
and  Richard  Dix. 


Do 
they 


you 
look 


think 
alike? 


<I  Buster  K  e  a- 
ton's  ivife 
(Natalie  Tal- 
madge)  and 
baby.  N  o  iv 
you  see  where 
Buster  gets  his 
eyes  from. 


^Fred  Thompson  on  "Silver 
King.  Stepping  out  for  a  big 
night  in  a  thousand  movie 
halls  at  once. 

simply  has  to  stop.  It'll  take  a  year,  at 
least,  to  put  the  roses  back  in  her  cheeks 
and  take  away  that  tired  feeling  so  that 
she  can  regain  the  twenty  pounds 
which  have  made  her  so  will-o-the 
wisp  like  and  frail.  You  can't  take 
away  her  smile,  though.  She  knows 
everything  will  be  all  right  soon, 
and  when  it  is,  and  she  starts  her  first 
production  after  all  the  long,  bad  win- 
ter, out  here  in  Hollywood  we're  going 
to  get  her  a  big  coach,  and  a  coachman 
and  footman,  and,  just  like  a  fairy 
princess,  she'll  be  rolled  along  back  to 
her  studio.  And  remember,  Lucille, 
there 's  always  got  to  be  a  silver  lining ! 
They  say — ■ 

That  if  a  new  law  that  Labor  Com- 
missioner Mathewson  of  California  is 
trying  to  pass  goes  through,  it  will  mean 
that  the  thousands  of  so-called  "extra" 
people  in  Hollywood  will  profit,  as  a 
whole,  $800,000  worth  a  year.  Commis- 
sioner   Mathewson    is    trying    to  put 
through  a  law  which  will  decrease  agents' 
commissions  that  much  every  year.  You 
folks  who  know  the  movies  just  on  your 
theatre's  screen  have  no  idea  of  the  work 
and  aches  and  pains  of  an  extra.   I  hope 
this  goes  through.    It's  no  inn  to  wait 
around  a  co\iple  of  weeks  or  months  for 
a  job,  and  then  have  to  give  a  nice,  fat 
slice  of  it  to  an  agent.    I  suppose  the  moral  is  "Be 
an  agent — not  an  extra,"  and  that  would  be  all 
right,  too.  if  it  didn't  take  'em  both  to  make  the 
movies  move  on. 


6<J 


INNERS 


in 


$500.00  CONTEST 


0 


ffered 
by 


AROL 


LOYD 


HP-  he  immense  popularity  of  Harold  Lloyd  has 
brought  to  Screenland  in  response  to  its  contest 
a  flood  of  tributes  to  his  genius — letters  of  praise,  of 
adulation,  of  homage,  and  of  appreciation. 

' '  Grandma 's  Boy ' '  was  voted  the  favorite  comedy. 
"Girl  Shy"  came  next,  and  "Safety  Last"  third. 
"Hot  Water,"  Dr.  Jack,"  and  "Why  Worry"  tied 
for  fourth  place,  and  "A  Sailor-Made  Man"  was 
fifth. 

Why  do  they  like  Harold  Lloyd  comedies? 
These  reactions  from  the  real  movie-goers,  the  fans 
actually  intimate  with  the  films,  show  an  apprecia- 


The  question  was: 
WHICH  OF 
THE  FILMS 
of  HAROLD  LLOYD 
you  like  the  best  and 

Why? 


^Harold  Lloyd  knoiLS  lionx  to  make  you 
laugh,  but  not  a  little  of  his  popu- 
larity is  due  to  his  charming,  un- 
assuming manner.  He  is  at  once  the 
greatest  success  and  the  most  modest 
man  on  the  screen. 


tion  of  the  fine  art  Lloyd  displays  in  his  acting,  of 
the  subtle  touches  to  his  characterizations,  of  the 
psychological  truths  his  plots  illustrate,  of  his  power 
to 'make  the  whole  world  kin ;  they  show  the  human- 
ness  of  the  movie  audience,  and  they  show  that  to 
this  great  public  Harold  Lloyd  stands  as  an  ideal— 
both  as  a  comedian  and  as  an  American  boy. 

First,  all  Harold  Lloyd  films  preach  the  doctrine 
of  self  confidence,  the  theory  that  "fear  can  be  con- 
quered. ' '  He  illustrates  success  won  over  all  kinds 
of  obstacles,  and  he  gives  his  audience  what  they 
need :  backbone  and  gameness.  He  inspires  them, 
fives  them  the  incentive  to  "bigger  and  finer  things. 
°  Second,  if  it  is  a  Harold  Lloyd  story  it  is  clean. 
His  characters  are  lovable  and  human.  "He  makes 
every  one  of  us  mothers  want  to  'mother'  and  pro- 
tect'and  love  him."  writes  Mrs.  Noble  Peake,  Jr.,  of 
Memphis.  "I  love  'Girl  Shy.'  I  would  like  to  see 
it  again  and  vet  again.  Like  a  well-worn  beloved 
book,  there  is  always  something  new  to  find  m  it 


70 


t^There  is  a  lesson  to  fans  and  all 

others  in  Harold  Lloyd's  infectious 

smile — a  lesson    in  salesmanship. 

With  his  good  humored  smile,  lie 

sells  you  comedy. 


First  Prize  of  $100.00 
Awarded  to 
Bertha  Killian, 
706  West  21st  Street, 
Oklahoma  City, 
Oklahoma. 
Two  Second  Prizes  of  $50.00 

Each  Awarded  to 
Mrs.  Noble  Peake,  Jr., 
1072  Greenlaw, 
Memphis,  Tennessee. 
M.  Seklemian, 

Box  22,  Station  C, 
Los  Angeles,  California. 
Four  Third  Prices  of  $25.00 
Each  Awarded  to 

Mrs.  Theodore  W.  Budlong, 

306  Washington  Blvd., 

Oak  Park,  Illinois. 
L.  C.  Farris, 

188   Spruce  Street, 

Morgantown,  West  Virginia. 


Jerome  B.  Gray, 

West  Chester,  Pennsylvania. 

G.  N.  Wilkinson, 
1891  Gaviota  Street, 
Long  Beach,  California. 

Ten  Fourth  Prizes  of  $10.00 
Each  Awarded  to 

Mrs.  Josiah   Quincy  Baker, 
566  Wetherfield  Avenue 
Hartford,  Connecticut. 

Anna  Brand, 

4013  Clifton  Street, 
131  Paso,  Texas. 

Lawrence  B.  Fishbeek, 
155  Park  Street, 
Gouverneur,   New  York. 

Lauren  S.  Hamilton, 

Box  328,   Olean,  New  York. 

Jack  Jessup, 

Box  211,  Newberg,  Oregon. 

Joseph  E.  Paul, 

2328   South   Hope  Street, 
Los  Angeles,  California. 

Joseph  M.  Rhodes, 

309  Fast  8th  Avenue, 
Homestead,  Pennsylvania. 


W.  E.  Tripp, 

317  Eighth  Avenue  East, 

Vancouver,   British  Columbia. 
Wm.  Rooney  Ryan, 

19  Dora  Avenue, 

Jamaica,  New  York. 
R.  A.  Utley, 

755   Miplewood  Avenue, 

Montreal,  Canada. 

Twenty  Fifth  Prizes  of  $5.00 
Each  Awarded  to 

Merton  L.  Backus, 

R.F.D.  No.  7, 

Madison,  Wisconsin. 
Edith  Blankenship, 

3616   Windsor  Avenue, 

Kansas  City,  Missouri. 
Rachael  Davison, 

125  West  North  Street, 

Buffalo,  New  York. 
Emilie  Gerich, 

25.43%  Main  Street, 

Buffalo,  New  York. 
II.  L-  Gombar, 

207  East  Main  Street, 

Leesburg,  Florida. 
Olive  Hatch, 

319%.  East  24th  Street, 
r  Los  Angeles,  California. 
Katharine  Holt, 

TCI  &  RR  Co., 

Birmingham,  Alabama. 
Albert  S.  Howard, 

03  Washington  Street, 

Providence,  Rhode  Island. 


Archie  J.  Inger, 

1110  Oak  Street, 

Alameda,  California. 
P.  V.  Keyes, 

Need  ham, 

Massachusetts. 
Gustav  Klemm, 

706  Nevvington  Avenue, 

Baltimore,  Maryland. 
Mrs.  Nellie  Mayer, 

91   San  Jacinto  Street, 

Austin,  Texas. 
Olive  M.  Nice, 

State  Hospital, 

Ma3sillon,  Ohio. 
John  J.  Polasko, 

60  Taylor  Street, 

Stamford.  Connecticut. 
Eunice  Radford, 

315  68th  Street, 

Brooklyn,  New  York. 
Roger  Searle, 

P.  O.  Box  403, 

Napa,  California. 
Mara  Serriov, 

General  Delivery, 

Sarasota,  Florida. 
D.   E.  Smith. 

2317  Berkeley  Avenue, 

Los  Angeles,  California. 
Mrs.  H.  S.  Smith, 

1432   Milner  Crescent. 

Birmingham,  Alabama. 
Edna  Phyllis  Tooill, 

264  West  70th  Street, 

New  York  City. 


J"Notv  or  Never"  is  com- 
ing out  again.  and 
Harold  is  at  ivork  on 
a  neiv  untitled  picture 
concerning  the  vicissi- 
tudes of  a  college 
training. 


f^Even  this  photograph 
of  a  scene  in  Harold's 
forthcoming  college  pic- 
ture is  enough  to  make 
you  smile,  and  the  fin- 
ished film  has  50,000 
pictures. 


and  love.  A  Harold  Lloyd  comedy  is  like  the 
clean  rain-swept  air  after  the  stale  musty 
scent  of  sex  in  the  eternal  triangle.  We 
need  him." 

Third,  his  stories  are  human,  "closest  to 
the   heart    of    the    great,    common  herd." 

It  isn't  the  slapstick  comedy  alone  that  the 
public  enjoys  from  Harold  Lloyd.  They  like 
the  way  he  pulls  the  heart  strings,  the  way 
he  portrays  their  own  inner  selves  to  them, 
the  wonderful  intimacy  which  he  establishes. 


71 


72 


SCREENLAND 

Dramaland — continued  from  page  62 


raised  her  the  farm  if  she  will  bear 
him  a  son.  Now  Abbie  thinks  that 
this  can  be  arranged,  and  Ebben 
is  the"  man  she  chooses  for  the  pur- 
pose. 

Reel  Five — Ebben  falls  madly  in 
love  vdth  Abbie  and  she  with  him. 
A  son  is  born  and  Ephraim  is  over- 
joyed, thinking  it  his.  Ebben,  by  a 
chance,  learns  of  Abbie 's  original  in- 
tentions and  refuses  to  credit  her 
present  love.  He  curses  her  and 
tells  her  that  he  .will  leave  that  farm 
in  the  morning  and  leave  his  mo- 
ther's ghost  behind  to  haunt  her. 
Abbie  swears  undying  love  and, 
thinking  it  will  prove  her  love  of 
Ebben,  she  strangles  the  baby  in  its 
sleep. 

Reel  Six — Ebben  at  first  is  frantic 
when  he  learns  from  Abbie  that  she 
has  killed  the  child  of  his  whom  he 
loved.  In  a  fury  he  runs  to  the 
village  and  reports  the  murder  to 
the  sheriff.  Then,  remorseful,  he 
returns  to  surrender  himself  as  an 
accomplice.  The  sheriffs  arrive  and 
lead  off  Ebben  and  Abbie,  who 
swear  to  love  one  another  unto  death. 
(Which  seems  not  far  distant.) 
Ephraim  pursues  them  with  fatherly 
curses.   Exeunt  Omnes. 


|/  a  n  Torrence, 
Ernest's  son,  ioith 
h  i  s  A berdeen 
terrier  in  front 
of  their  Holly- 
wood home. 


Some  N etu  Films — continued  from  page  47 


tried  to  come  back.  Gasnier  directed 
this  film  and  he  has  outdone  his 
every  other  effort.  This,  by  the  way, 
is  what  you'd  call  safe  entertainment 
for  the  whole  family. 


Similar  in  many  respects  to  ' 1  The 
Parasite"  was  the  Producers'  Distri- 
buting Corporation's  production, 
"Another  Man's  Wife."  Our  first 
reaction  to  this  film,  which  is  a  not 
uncommon  tale  of  a  misunderstood 
frau  and  her  bull  headed  husband, 
was  that  here  was  a  most  remarkable 
cast  of  big-timers  gone  wrong.  Into 
the  five  reels  of  feverish  drama  which 
is  usually  to  be  found  in  these  cellu- 


loid tales  of  domestic  entanglements, 
there  has  been  crowded  no  less  for- 
midable an  assemblage  of  favorites 
than.  James  Kirkwood,  Lila  Lee, 
Wallace  Beery,  Matt  Moore  and 
Chester  Conklin.  They  might  have 
been  saved,  as  Merton  would  say, 
for  bigger  and  better  things.  Even 
so  splendid  an  actor  as  Kirkwood  is 
subjected  to  what  must  surely  have 
been  to  him  the  embarrassment  of 
being  rescued  in  the  final  reel  from 
a  raft — by  a  U.  S.  Submarine.  And 
it's  strange,  too,  what  roles  such  fel- 
lows as  Wally  Beery  and  Matt  Moore 
will  jump  into  so  that  they  may 
average  better  than  fifty  salaried 
weeks  a  year. 


With  Charlie  Chaplin,  Mary  and 
Doug  it's  a  case  of  all  in  the  family. 
Charlie  married  his  leading  lady, 
Lita  Grey.  "Help,  help,  help,"  he 
cried,  "  I 've  gotta  have  a  new  lead- 
ing lady.  Whad'm  I  going  to  do?" 
"Never  mind,"  says  Doug,  'A 
friend  in  need  is  a  friend  indeed.' 


They  Say — continued  from  page"  68 

Take  my  leading  lady."  And  that's 
why  Georgia  Hale  will  be  Charlie's 
leading  ladj^  instead  of  Doug's  and 
and  instead  of  Georgia,  in  "Don 
Q, "  Mary  Astor  will  be  Doug's  lead- 
ing lady. 

With  Gloria  Swanson  starting  the 
ball  a-rolling,  the  what  looked  like 


Much   of   the   earlier  action 
"Another  Man's  Wife"  might  hav 
been  eliminated  without  seriousl 
affecting  the  dramatic  worth  of  th 
story.   In  fact,  with  the  fight  on  th 
raft  and  the  submarine  rescue  an 
everything,   this   film  would  hav 
made  a  right  smart  two-reel  ruelle 
drammer.    Still,  we  suppose,  Dire 
tor  Bruce  Mitchell  was  under  orde] 
to  get  his  full  money's  worth  out  0 
such  a  grand  array  of  talent  as  1» 
had  to  work  with. 

We  wouldn't  recommend  seein! 
this  one  unless,  say.  there  was  not 
ing  else  in  town  except  Fox 's  ' '  Fol 
of  Vanity."     And  then,  perhap 
vou'd  have  a  right  to  a  toss-up. 


low   matrimonial   figures    for  t. 
month  have  taken  a  sudden  rise, 
might,  at  the  same  time,  while  I 
announcing    engagements  call 
your  attention  the  engagement 
Gertrude  Short  to  Percy  Pembrok 
also,    of    Alberta    Vaughan  ai 
George  O'Hara  plighting  their  trot 


SCREENLAND 


73 


Before  They  Were  Famous — continued  from  page  34 


raised  the  window,  made  a  heap  of  snow  balls  and 
then  threw  them  at  all  the  passersby  and  knocked 
the  men's  hats  off.  At  that  time  we  considered  it 
great  sport  and  had  a  jolly  time.  Very  jolly  Estelle 
was,  full  of  fun,  always  the  life  of  the  party.  And 
generous  to  a  fault.  Had  she  ten  cents  it  was  yours 
for  the  asking. 

We  studied  dancing  together.  Which  reminds  me 
of  the  time  Professor  Clymer  gave  a  song  and  dance 
carnival  at  the  old  Delaware  Avenue  Theatre. 
Estelle  and  my  younger  sister  were  to  dance  in  an 
act  together,  and  I  was  to  lead  a  chorus  of  little 
tots  in  a  song.  We  practiced  every  day  for  a  long 
while.  So  much  excitement.  It  was  wonderful! 
Estelle  was  in  her  glory,  and  the  most  excited  of 
us  all.  The  big  night  arrived.  We  were  all  thrilled 
and  expectant.    The  house  was  full.    When  it  came 


time  for  Estelle  and  my  sister  to  go  on,  my  sister 
got  stage  fright.  No  one  could  induce  Jier  to  go  on. 
Did  Estelle  back  out  too?  She  did  not!  Nothing 
daunted,  on  went  Estelle  alone  and  turned  out  the 
hit  of  the  evening.  There  were  people  in  that 
theatre  that  night  who  predicted  greatness  for 
her. 

Another  memory  which  amuses  me  very  much — I 
was  at  one  time  singing  at  the  moving  picture  place 
called  "The  Red  Moon,"  and  Estelle  was  with  me 
all  the  time  she  could  be.  We  both  admired  Mary 
Pickford,  envied  her  a  lot  and  spent  much  of  our 
time  talking  about  her.  And  Estelle  now  acts  in  the 
same  pictures  with  Mary !  At  one  time  for  quite 
a  while  Marc  McDermott  acted  on  the  legitimate 
stage  in  Wilmington.  Everybody  thought  him  won- 
derful, Estelle  especially.  And  in  one  of  her  very 
earliest  pictures  she  played  opposite  McDermott ! 


Babies  Bring  Beauty — continued  from  page  37 


parent.  Ergo  art  and  motherhood 
must  mix.  Besides,  no  less  an  au- 
thority than  Theodore  Roosevelt,  al- 
so a  great  actor,  benevolently  said 
that  the  hand  that  rocks  the  cradle 
rules  the  world.  Well,  he  might 
have  meant  the  stage  world.  Or  the 
screen. 

Apparently  the  actresses  of  the 
cinema  overheard  Ethel  too.  Some 
of  our  leading  ladies  are  also  lead- 
ing children  around  by  the  hand  at 
home.  The  perambulator  as  an  aid 
to  art  has  found  a  place.  More  than 
one  celluloid  charmer  has  taken  a 
vacation  from  the  screen  to  appear 
in  the  real-life  role  of  mother,  and 
almost  invariably  returned  to  greater 
popularity  than  before.  There  must 
be  something  to  it ;  even  if  it  is 
frowned  upon  in  the  pictures  them- 
selves. 

Some  of  the  very  actresses  whose 
tender  scenes  showing  them  knitting 
little  socks  or  tucking  away  tiny 
garments  have  been  sheared  by  the 
ruthless  censors  have  enacted  just 
such  scenes  outside  the  studio.  Titles 
such  as  "And  so  came  to  her  the 
crowning  glory  of  womanhood" 
have  often  come  true. 

It  is  an  interesting  thing  that  our 
best-known  mothers  have  been,  in 
their  celluloid  incarnations,  great 
sirens.  Gloria  Swanson  was  one  of 
the  first  established  stars  temporari- 
ly to  renounce  her  career  to  become 
a  mother.  She  was  at  the  heigh th 
of  her  first  popularity  when  she  left 
the  screen.  Gloria  the  Second  came 
into  the  world  and  when  she  was 


a  little  older,  she  led  her  mother 
straight  back  to  the  screen.  And 
Gloria  the  First  speedily  set  about 
proving  the  truth  of  Miss  Barry- 
more 's  assertion.  She,  who  had  once 
been  a  mere  clothes-horse,  became  an 
actress.  Her  ambitions  broadened. 
She  stepped  out,  shyly  at  first,  then 
with  ever-increasing  confidence,  in 
new  and  difficult  roles.  Why,  she 
even  let  herself  be  close-upped  show- 
ing real  emotions.  She  was  acclaimed 
a  great  actress.  So  she  was — for 
Gloria  Swanson.  It  may  be  because 
her  own  baby,  Gloria,  had  brought 
her  such  unsuspected  powers  that 
she  decided  to  adopt  another  child. 
At  any  rate,  since  the  increase  in  her 
family,  she  has  gone  right  on  being 
a.  better  and  better  actress.  And 
since  her  marriage  to  the  Marquise 
de  la — you  finish  it — she  is  reported 
to  have  won  the  heart  of  all  France 
by  saying  that  she  hopes  to  have 
six  more  children.  Is  there  no  limit 
to  this  woman's  artistic  ambitions? 

Vicarious  motherhood  has  been  the 
lot  of  Barbara  La  Marr.  But  those 
who  know  her  best  say  there  is  no 
more  devoted  mama  in  the  world 
than  is  Barbara  to  her  little  adopted 
son.  She  may  be  a  cruel  and  ruth- 
less woman  in  celluloid,  but  she's 
kindness  itself  to  Sonny.  To  watch 
her  gyrations  on  the  screen  in  San- 
dra you  might  never  suspect  her  of 
harboring  the  far-famed  mother- 
heart  in  her  heaving  pearl-laden 
bosom.  But  Avhether  Barbara  blames 
her  prosperous  career  on  her  adopted 
motherhood  or  not,  there 's  no  getting 
around  it  that  her  career  has  been 
prosperous. 

Zasu  Pitts  was  always  believed  to 


be  a  potentially  great  actress.  But, 
somehow  or  other,  Zasu  never  quite 
made  the  grade.  She  played  bits 
here,  and  bits  there,  and  once  in  a 
while  when  she  had  a  real  chance 
she  ran  away  with  the  picture.  But 
it  is  not  until  after  she  became  Mrs. 
Tom  Gallery,  and  then  the  mother  of 
little  Miss  Gallery,  that  things  be- 
gan to  come  her  way.  It  may  be 
one  of  fate's  freaks,  or  a  lucky  ac- 
cident; but  the  fact  remains  that 
the  mother  of  Zasu  II.  sprang  into 
fame  where  plain  Zasu  Pitts  had 
struggled  unavailingly.  Comedy 
was  considered  her  forte.  But  her 
talents  had  grown  to  the  propor- 
tions of  actual  emotional  ability ;  and 
it  is  in  the  tragic  role  of  Trina 
McTeague  in  von  Stroheim's  Greed 
that  the  world  knows  her.  And 
calls  her  very  nearly  great. 

What  has  motherhood  done  for 
Mae  Marsh  ?  It 's  hard  to  say.  Per- 
sonally, I  believe  that  she  automa- 
tically lost  her  spark  of  °-enius  when 
she  left  the  D.  W.  Griffith  fold  some 
years  ago  to  reap  the  rich  harvest 
of  her  apprenticeship  there — during 
which  she  won  screen  immortality 
as  the  little  sister  in  The  Birth  of  a 
Nation  and  the  tragic  child-wife  in  J 
Intolerance.  It  was  not  until  her 
lucrative  stellar  career  with  Goldwyn1 
was  draAving  to  a  close  that  Mrs. 
Louis  Lee  Arms  presented  her  hus- 
band with  little  Mary.  And  so 
Mae's  subsequent  obscurity  cannot 
be  blamed  on  that  chubby  little 
creature.  It  can  be  blamed  on 
changing  conditions  in  the  screen 
world ;  on  that  slvy,  elusive  charm  of 

(Continued,  on  page  76) 


I  L  E  E  N 


RINGLE 


pringle 


l  For  Milady  of  ultra-conservative  tastes,  the  Kasha 
mannish  coat,  ivorn  so  charmingly  by  Miss  Pringle,  is 
just  the  thing.  Rust-colored,  ivith  a  green  crepe  de 
chine  lining,  it  is  enhanced  by  an  all-around  embroid- 
ered border,  ivith  the  tiniest  edging  of  antelope.  The 
hag  is  of  Rodier  Kasha. 


By  Nan  Fessenden 

"Aileen  the  Fair,  Aileen 
the  Lovable, — " 

ut  not  the  "Lily 
Maid  of  Astolat." 
Oh,  no.  Rather  the 
tiger  maid  of  the 
Movie-lot.  With  all  due 
apologies  to  Tennyson,  we 
like  onr  Aileen  much  better 
than  his  Elaine.  Outside 
of  the  similarity  in  their 
names,  these  heroines  of 
screen  and  fiction  are  as 
far  apart  as  the  poles. 

No  frail,  timid  maiden 
watching  from  a  tower  is 
Aileen  Pringle.  She  stands 
for  all  that  is  best,  most 
vital,  in  the  modern  girl. 
Possessed  of  exotieally 
lovely  features  and  a  beau- 
tifully molded,  well  knit 
little  body,  she  is  the  sort 
you  invariably  turn  around 
to  look  at  twice.  Add  to 
this  rare  physical  comeli- 
ness a  brain,  a  fine  sense 
of  humor  and  considerable 
talent, — and  is  it  any  won- 
der that  Aileen  finds  her- 
self approaching  the  front 
rank  of  screen  luminaries  ? 

The  smart  coats  featured 
by  Miss  Pringle  are  both 
advance  models,  whose 
proud  debut  will  doubtless 
be  noted  along  the  avenue 
at  Easter-time. 

With  these,  and  the  ex- 
quisitely pretty  little  frock 
of  net,  what  more  could 
any  woman  ask  as  a  foun- 
dation for  her  Spring  ward- 
robe 1 


SHOWS 


ashions 


Costumes  worn  by  M iss  Pr ingle  are 
from  Bon  wit  Teller  and  Company 


C§In  quite  a  different 
mood,  a  homey,  indoor 
mood,  is  this  dinner 
go<wn  of  embroidered 
orchid  net,  over  a  sep- 
arate slip  of  crepe  de 
chine.  Doubled  crepe 
de  chine,  with  sealing- 
wax  tips,  makes  a  novel 
trimming.  The  sash  for 
this  model  may  also  be 
used  as  a  scarf. 


^ Milady  is  to  be  forgiven 
much,  if,  during  the  Easter 
sermon,  her  eyes  stray  from 
the  preacher  only  to  dwell 
admiringly  on  such  a  coat 
as  the  one  sliown  above. 
The  coat  itself  is  of  Rodier 
Kasha,  in  the  ever-smart 
black,  while  the  lining  and 
unique  jabot  effect  are 
fashioned  from  yellow  and 
black  printed  crepe  de 
chine.  This  is  copied  from 
a  Jenny  model. 


76 


SCREENLAND 


(Continued  from  page  73) 

far  more  buxom  stars.  Maybe,  if 
Mae  Marsh  were  to  find  the  right 
director  again,  and  the  right  story, 
she  would  prove  that  Mary  Arms 
had  been  a  blessing  in  more  ways 
than  she  has  been  already. 

It's  too  early  to  conjecture  about 
Lila  Lee.  Certainly,  her  recent  re- 
tirement as  Mrs.  James  Kirkwood, 
and  as  the  mother  of  Jimmy 
Junior,  has  added  a  deeper  beauty 
to  Lila's  lovely  eyes,  and  it  has  also 
— stage  whisper — given  her  a  more 
slender  grace  than  she  possessed  as 
the  plump  Lila  of  yesteryear.  She 
can  hardly  prove  herself  a  more  ac- 
complished actress  as  long  as  she  is 
confined  to  leading  roles  opposite 
Tommy  Meighan,  because  Tommy's 
leading  ladies  rarely  have  a  chance 
to  do  what  you  might  call  acting. 
And  I've  heard  that  James  Kirk- 
wood prefers  to  have  his  wife  appear 
only  in  the  Meighan  pictures.  But 
of  course  even  husbands  may  change 
their  minds. 

Leatrice  Joy  said  not  long  ago  that 
she  was  leaving  the  screen  to  devote 
her  life  to  her  little  daughter.  Now 
Leatrice  is  back  on  the  lot  making 
The  Dressmaker  from  Paris.  Was 
her  avowed  renunciation  of  stardom 
a  publicity  stunt?  Or  did  it  come 
from  her  mother-heart  ?  Nobody 
seems  to  know  and  nobody  seems  to 
care,  now  that  Miss  Joy  is  back  in 
the  business.  It  would  have  been  a 
shame  to  lose  Leatrice,  even  for  a 
round-faced,  gurgling  miniature. 
It  seems  to  me  that  Leatrice  is  essen- 


|§r  1$  Laura  La  Planie  and  Eugene 
r         O'Brien  on  the  <way  to  Honolulu,  in 

their     latest     co-starring  vehicle, 

"Dangerous  Innocence." 

tially  an  actress  and  wouldn 't  be 
happy  very  long  away  from  the  mum- 
mer's life.  Imagine  her  immured  in 
New  Orleans — though  that  is  a  love- 
ly city,  dear  New  Orleans  readers ! 
— crooning  over  the  carriage  and 
worrying  over  little  Letty's  diet,  to 
the  exclusion  cf  all  other  thoughts! 
I  can't;  maybe  you  can.  It's  en- 
tirely possible  that  she  can  combine 
art  and  motherhood,  you  know.  It  's 
being  done. 

Mary  Hay  Barthelmess  is  one  of 
the  best  arguments  for  movie  mother- 
hood. She  is  crazy  about  the  second 
edition  of  Mary  Hay — as  fatuously 
fond  as  any  suburban  mother.  But 
she  didn 't  stay  at  home  spoiling  her. 
She  went  right  out  and  pranced  in- 
to Mary  Jane  McKanc,  Avhere  her 
twinkling  toes  and  snapping  eyes  and 
funny  little  voice  brought  her  more 
fame  and  fortune  than  she  had  hith- 
erto enjoyed.  And  maybe  if  Mary 
hadn 't  become  Mrs.  Barthelmess  and 
Mary  Junior's  mother,  her  husband 
wouldn 't  have  chosen  her  to  play  the 
young  wife  and  mother  in  New  Toys. 
And  so  a  very  promising  screen 
comedienne  would  have  remained  un- 
born. 

Such  actress-mothers  as  Beverly 
Bayne  Bushman  and  Marguerite 
Snow  have  come  back  to  the  screen 
after  several  years  cf  retirement — 
and  made  good  all  over  again. 
Jackie  Saunders'  baby  never  hin- 
dered her  career.  Myrtle  Stedman 
looks  younger  than  her  seventeen- 
year-old  son  Lincoln. 

Florence  Vidor?    It  seems  to  me 


that  little  Suzanne  was  born  before 
Florence  had  seriously  taken  up 
screen  work.  But  she  has  proved 
more  of  a  help  than  a  nuisance 
ail  along — just  ask  Florence. 

As  for  Alice  Joyce — she  is  just 
about  the  champion  all-round  star- 
mother-wife  of  the  movies.  She  in- 
terrupted her  career  in  the  Kalem 
days  to  welcome  her  first  child,  Mary 
Joyce  Moore.  She  came  back  and 
won  added  laurels.  Her  early  mar- 
riage went  on  the  rocks,  but  she 
found  happiness*  in  her  second — such 
happiness  that,  again,  her  career  suf- 
fered a  relapse.  And  Mary  had  a 
new  little  sister.  In  the  past  two 
years  Alice  Joyce  has  steadily  been 
fighting  her  way  back  to  the  popu- 
larity and  prestige  she  enjoyed  in 
the  early  years  of  motion  pictures 
-when,  as  the  Kalem  Girl,  she  was 
voted  the  screen's  loveliest  woman. 
Her  beauty,  maybe,  has  been 
dimmed ;  but  she  has  an  added  poise 
and  grace.  Besides,  no  one  ever 
used  to  accuse  her  of  being  a  real 
actress ;  and  now  the  poor  girl  is  hav- 
ing the  word  hurled  at  her  right  and 
left. 

Yes — I  know  what  you're  saying. 
That's  all  very  well — fine — great. 
But  how  about  the  others — with 
nothing  running  around  their  homes 
except  servants  and  wolf-hounds  and 
Pekingese?  For  every  Laurette 
Taylor  and  Ethel  Barrymore  for  the 
positive  side  of  the  motherhood-art 
argument,  there  are  a  Jane  Cowl 
and  an  Elsie  Ferguson  for  the  nega- 
tive. There  is  always  Duse  to  bal- 
ance Bernhardt. 

For  Gloria  Swanson,  there  is 
Lillian  Gish.  And  Mary  Pickford 
has  been  a  mother  only  to  her  sister 
Lottie's  little  girl.  Norma  Tal- 
madge  is  a  great  actress  even  though 
the  children  upon  whom  she  lavishes 
her  affection  belong  to  Natalie  Kea- 
ton,  and  not  to  her.  Wonderful 
things  in  the  acting  line  have  been 
accomplished  by  such  youngsters  in 
life  and  art  as  Norma  Shearer,  Lois 
Wilson,  May  McAvoy,  and  Betty 
Bronson.  Mother-love  registers  just 
as  strongly  on  the  screen  when  coun- 
terfeited by  a  gifted  flapper  as  by 
a  mature  actress  with  several  kiddies 
waiting  for  her  at  home. 

But  for  real  authority  on  the  sub- 
ject of  "Does  Motherhood  Pay?"  I 
advise  you  to  turn  to  Mary  Carr  and 
— oh,  yes — Mrs.  Jack  Coogan.  They 
should  know. 

Rock-a-bye  Baby, 

On  the  tree  top. 

If  you  have  had  one 

Your  fillum  can 't  flop  ! 


SCREENLAND 


77 


Raj 

our  raft  an  old  barn  door.  Today's 
subtitles  echo  our  chanties  when  we 
go  down  to  the  sea  in  theatre  seats. 
I  hope  Jackie  Coogan  sings  one  in 
"Little  Robinson  Crusoe."  Songs 
of  far  winds  they  are. 

An  Australian  magazine  once  com- 
missioned me  to  (search  for  local 
color,  stories  and  romance  through 
the  islands  of  the  Torres  Straits — 
South  Seas  by  the  fictioneer's  chart. 
Vivid  tropical  hues  absorbed  me,  fig- 
ures of  laughter  and  tears  Avere 
there,  but  three  brown,  happy-go- 
lucky,  strip-stark  kids,  who  strad- 
dled a  log  a  mile  and  a  half  beyond 
the  furthest  line  of  breakers  and 
cheered  as  a  shark  went  by  and 
i  porpoise  chased  it,  came  closer 
than  all  to  the  people  who  read  about 
them  afterwards.  It  was  ourselves, 
and  our  raft,  and  our  wanderlust. 

Ten  thousand  miles  from  there,  at 
Texas  Guinan 's  El  Fey  Club  in  New 
York  I  danced  the  other  evening, 
midnight,  morning  with  Kathleen 
Key,  who  had  just  returned  from 


ts  o}  Romance — continued  jrom  page  29 

Rome  with  the  "Ben  llur:'  com- 
pany.   Five  years  ago  I  swam  with 


Kath  on  Waikiki  Beach,  before  that 
in  Samoa  and  at  Coogee,  too.  She 
goes  a-raftin',  Kath  does.  She  de- 
scribed the  "Ben  Hur"  sets  super- 
latively. From  a  glance  at  pub- 
lished stills  I  can  see  $2,000,000  pro- 
duction cost  is  well -spent  money; 
but  that  darned  old  castaway  couple 
of  mine  reserves  the  super-thrill  for 
Ben  Hur  signalling  distress  while 
Arrius,  the  Roman  commander,  lies 
helpless  beside  him.  They  are  down 
to  the  end  of  things,  and  the  begin- 
ning. What  happens  next?  Trag- 
edy, happiness,  heights  or  depths, 
ahoy  ? 

The  raft  must  have  cost  fully  eight 
dollars. 

Well,  it's  great  to  report  a  whole 
flotilla  on  the  star-board  bow.  But 
just  supposing — 

Derelict  planks  were  Doug  Fair- 
bank's  next  magic  carpet, 

Or  Tommy  Meighan  laughed  at 
an  empty  sea  because  prayer  and 


Tom  Terriss,  Director  of  Destinies — continued 


and  some  recreation.  He  and  I 
have  been  together,  off  and  on,  ever 
since  1913  when  we  both  met  as 
actors  in  Fort  Lee  at  the  old  Solax 
Studio.  He  was  directing  and  act- 
ing in  a  picturization  of  Dicken's 
"Mystery  of  Edwin  Drood"  and 
engaged  me  to  play  the  part  of 
Drood.  We  became  good  friends  and 
later  he  made  me  his  associate ;  and 
this  is  my  chance  right  here  to  tell 
him  (if  he  ever  reads  this)  that  my 
association  with  him  has  been  very 
wonderful.  He  is  a  great  one  to  pro- 
duce his  pictures  in  different  parts 
of  the  world,  and  being  with  him 
has  meant  much  delightful  travel. 
We  have  been  in  different  parts  of 
the  United  States.  In  1915  we  were 
in  the  West  Indies  and  now  in  Cuba, 
France  and  Spain.  A  couple  of 
years  ago  he  was  making  pictures 
in  England  and  Egypt. 

Thinking  of  the  travelling  Ave  had 
done  I  remarked  as  we  sat  talking 
together,- 

"You  certainly  seem  destined  to 
traA7el  all  right.  Three  more  coun- 
tries we 've  worked  in.  Where  do  we 
make  the  next  one?  At  the  South 
Pole?" 

The  Chief  smiled  but  didn't 
answer;  so  I  continued, 

"And  speaking  of  destinies,  you 
certainly  seem  to  haAre  a  lot  to  do 
with  the  destiny  of  some  people. 
YouVe  started  tAvo  more  on  their 


Avay  in  'The  Bandolero.'  " 

I  Avas  referring  to  Rita  Rossi  and 
Manuel  Grenado.  She  had  played 
the  vamp  in  the  picture  and  Grenado 
the  juvenile  lead.  Both  of  them  un- 
known when  Mr.  Terriss  chose  them 
to  play  the  parts.  Miss  Rossi, 
absolutely  unknoAvn,  and  Grenado 
had  been  doing  ' '  extra ' '  work  at  the 
Famous  Players.  Both  of  them, 
given  their  chance,  made  good  as  is 
evidenced  by  the  fact  that  Rita 
Rossi  is  busy  working  in  Dick  Bar- 
thelmess'  latest  production  and 
Grenado  was  given  a  contract  by 
Metro  Goldwyn  on  the  strength  of 
his  work  as  the  young  bullfighter 
in  "The  Bandolero"  and  is  uoav 
busy  in  California  under  his  new 
jaame,  Paul  Ellis. 

But  giving  a  helping  hand  and 
starting  people  on  the  road  to  fame 
is  nothing  new  for  the  Chief.  He  has 
been  doing  it  for  years '  with  re- 
markable success.  He  has  a  wonder- 
ful faculty  of  seeing  talent  in  an 
Unknown. 

Years  ago  Richard  Rowland.  Vice- 
President  and  General  Manager  of 
First  National,  remarked  that 
"every  mob  contains  a  future  star." 
Tom  Terriss  took  that  motto  \into 
himself  as  an  integral  part  of  his 
qualifications  as  a  director  and  has 
proA'ed  his  faith  in  it  by  giA-ing  the 
Unknown  a  chance  on  the  screen. 
And  his  abilitv  in  that  direction 


profanity  could  not  help  him, 

Or  Charlie  Chaplin  shared  his  last 
biscuit  Avith  the  pursuing  shark! 

Awd  just  supposing  Norma  Tal- 
madge  acted  the  entire  scene  through 
tAvo  reels,  not  just  in  flashes,  but 
holding  the  screen  and  us  by  her 
OAvn  poAver  !  In  mirroring  the  agony 
of  doldrums,  the  terror  of  storms  in 
a  Avorld  Aviped  out  and  Avaves  all 
gone  amok,  the  crazy  hopes  when 
rescue  ships  steam  close  only  to  re- 
volve incredibly  and  hang  upside 
dow  n  in  air — mirages  !— in  that, 
Norma  could  reach  the  limit  of  her 
art. 

The  lure  of  the  Spanish  Main — it 
is  born  in  every  movie  fan !  Now 
all  together : 

"Fifteen  men  on  a  dead  man's 
chest, 

Yo-ho-ho  and  a  bottle  of  rum! 
Drink  and  the  devil  have  done 

for  the  rest, 
Yo-ho-ho  and  a  bottle  of  rum!" 
And,  by  the  way,  what  a  great 
fan  R.  L.  S.  Avould  haAre  been! 

from  page  26 

amounts  to  positive  genius  inasmuch 
as  those  to  whom  he  has  given  a 
chance  have  fully  lived  up  to  his 
anticipations  and  haAre  become  either 
stars  or  principal  players.  He  seems 
to  have  a  sort  of  uncanny  ability  to 
see  in  the  ' '  extra ' '  on  the  lot  certain 
hidden  qualities  which  mean  screen 
possibilities.  To  the  majority  they 
are  only  "extras,"  a  moo  hired  for 
the  day,  and  the  only  impression 
they  make  is  that  of  a — mob.  But 
not  to  Tom  Terriss.  To  him  they 
are  a  group  of  individuals,  each 
possessing  potentialities,  some  more 
developed  than  others,  and  he  is 
quick  to  perceiAre  those  with  quali- 
ties worthy  of  the  chance  to  deA'elop. 
An  he  never  fails  to  give  them  that 
chance.  He  believes  that  the  public 
will  appreciate  anything  good,  and 
in  the  matter  of  their  screen  enter- 
tainment he  feels  the  same  to  be 
true — a  good  performance  is  well 
liked  Avhether  given  by  some  one 
with  a  Avell  knownj  name  or  not. 
And  the  choices  he  has  made  have 
proved  it.  While  they  are  well 
known  names  today,  still,  when  Mr. 
Terriss  gave  them  their  chance,  they 
were  absolutely  UnknoAvns. 

While  in  "The  Bandolero"  he 
picked  two  UnknoAvns  for  the  im- 
portant parts,  in  1920  he  picked 
three  Unknowns  for  important,  roles 
in  one  picture.    He  was  directing  at 


SCREENLAND 


^Est/ier  Ralston  and  William  Otis  in 
"The  Goose  Hangs  High." 


78 

the  Vitagraph  at  the  time  and  the 
filming  of  "The  Heart  of  Mary- 
land'' had  been  assigned  to  him. 
The  picture  was  cast  except  for  two 
men  and  a  girl,  and  he  looked 
around  with  the  ' '  destiny ' '  light  in 
his  eyes  for  suitable  people  to  whom 
to  entrust  the  roles.  That  discern- 
ing gaze  finally  took  in  two  young 
fellows  who  were  hoping  to  get 
along;  in  them  Mr.  Terriss  saw  the 
qualities  he  wanted  and  they  were 
given  the  parts.  They  were  Ben 
Lyon  and  Buster  Collier.  Then  he 
found  the  girl  whom  he  felt  confi- 
dent would  make  good.  She  was  in 
the  Follies  and  he  took  her  from 
there  and  his  confidence  was  not 
misplaced.  Jacqueline  Logan.  It 
was  the  first  picture  in  which  any 
of  them  had  appeared.  And  where 
they  are  today  proves  that  the  Chief 
was  not  mistaken  in  the  qualities  he 
had  seen  in  each  of  them. 

During  the  same  year  Vitagraph 
filmed  "Trumpet  Island"  and  Mr. 
Terriss  wielded  the  megaphone.  He 
needed  a  girl  for  the  production, 
and  he  chose  one  who  had  been 
doing  "extra"  work  and  bits  but 
had  never  succeeded  in  getting  a 
good  part.  However  the  "destiny" 
eye  and  the  "helping  hand"  charac- 
teristic prompted  him  to  give  this 
girl  her  first  real  part  and,  as  usual, 
Marguerite  de  la  Motte  made  good 
as  Mr.  Terriss  anticipated. 

The  year  before,  in  1919,  the  Chief 
made  two  selections  from  Unknowns. 
He  was  filming  "Captain  Swift" 
with  Earle  Williams,  and  the  same 
need  arose — that  of  a  girl  for  the 
important  part.  Into  the  crowd  of 
extras"  this  time  went  the  "des- 
tiny" eye  and  his  selection  f ell  upon 
Alice  Calhoun.  Ever  since  then  her 
rise  has  been  steady. 

His  other  choice  that  year  was  a 
man  to  play  in  "The  Lion  and  the 
Mouse"  in  which  Alice  Joyce  was 
being  starred.  The  young1  fellow 
had  never  been  in  pictures,  and  Mr. 
Terriss  met  with  opposition  when  he 
told  whom  he  had  selected.'  It  was 
a  very  big  part  to  entrust  to  an  Un 
known  but  contrary  to  the  advice 
of  others  the  Chief  felt  that  he 
couldn't  be  mistaken  and  that  the 
fellow  would  be  able  to  do  it.  So 
he  was  engaged  and  I  leave  it  to  you 
if  he  made  good.    Conrad  Nagel. 

There  are  two  other  names  that 
must  be  added  to  the  credit  of  this 
Destiny  Director,  one  a  man  and 
one  a  woman.  In  1918  the  Chief 
was  directing  Alice  Joyce  in  another 
of  her  pictures,  "The  Vengeance  of 
Durand,"  and  again  a  man  was 


needed.  This  time  the  fortunate  one 
was  Percy  Marmont,  absolutely  Un- 
known and  his  first  appearance  on 
the  screen. 

The  girl  received  the  grasp  of  Ter- 
riss' helping  hand  in  1917  in  the 
filming  of  "A  Woman  Between 
Friends."  She  had  been  doing 
"extra"  work  and  bits  hoping  for 
that  time  when  she  would  have  a 
real  part.  I'm  afraid  I'll  have  to 
admit  in  this  case  that  her  personal- 
ity had  something  to  do  with  the 
Chief's  choice  because  she  certainly 
has  it,  but  he  knew  that  that  per- 
sonality was  one  which  would  "get 
over"  on  the  screen.  So  he  gave  her 
the  part,  and  recognition  of  her 
personality  and  ability  was  im- 
mediate. Her  name  in  electric  lights 
is  a  sure  drawing  card  now.  Agnes 
Ay  res. 

While  the  Chief  was  fortunate  in 
being  born  with  decided  talent  for 
all  things  theatrical,  being  one  of  the 
members  of  the  famous  Terriss  fami- 
ly and  son  of  one  of  England's  most 
famous  actors,  and  consequently  not 
placed  in  that  position  of  having  to 
be  helped  and  developed,  still  he  is 
a  very  firm  believer  in  helping  the 
other  fellow  to  get  his  start.  New 
players  and  stars  have  to  come  from 
somewhere ;  and  where  is  the  most 
likely  spot  for  them  to  be  found  if 


not  among  the-  crowd  of  growing 
enthusiasts  who  are  ambitious  to  get 
into  the  movies  and  who  are  willing 
to  work  hard  to  make  good?  And 
newly  "discovered"  stars,  having 
made  good,  are  immediately  placed 
under  contract  for  fear  that  they 
may  be  the  only  ones  of  their  kind 
— but  not  by  Mr.  Terriss.  He  has 
no  such  thought  of  scarcity,  and 
there  are  plenty  of  others  who  will 
offer  them  contracts.  And  besides, 
he  is  too  busy  making  new  "dis- 
coveries" and  giving  them  a  start. 

All  this  ran  through  my  mind  as 
we  sat  smoking  and  talking,  and  I 
thought  it  might  be  interesting  if  I 
told  it  to  you  folks.   Hope  so. 

Just  before  leaving  him  to  go 
home  and  start  that  well  earned  rest 
he  had  advised,  I  said  to  Mr.  Ter- 
riss, "Well,  Chief,  who  do  you  think 
you'll  pick  this  time  with  that  'des- 
tiny '  eye  of  yours  ? ' ' 

But  he  just  smiled  and  said,  "I 
don't  knew — yet,  Rod."  From  the 
way  he  said  it  I  guess  he  must  have 
been  thinking  of  one.  or  maybe  two 
Unknowns.  He  will  most  likely  pick 
some  one  because  while  he  will  con 
tinue  to  be  a  first  class  director,  I 
know  he  won't  relinguish  the  title 
I've  given  him  of  "First  Class  Direc- 
tor of  Screen  Destinies" — especially 
of  mine,  I  hope. 


SCREENLAND 


79 


She  Came  Back  to  Town 
On  a  Magazine  Cover! 

EVEN  MY  dear  old  Gertrude  Follis  Left  Home  an  Ugly  Duckling.  Now  New  York 
P 


Departing  an  'Ugly 
Duckling' 


Dad  used  to  say  my 
looks  would  never 
take  a  prize.  My  broth- 
ers frankly  called  me 
homely.  No  girl  in 
Kingston  had  wished 
harder  for  beauty — or 
had  tried  any  harder 
to  win  it.  But  that  was  back  in  King- 
ston, N.  Y.,  when  my  features,  face, 
and  skin,  and  even  my  hair  looked 
hopeless.  Today,  illustrators  who  are 
supposed  to  be  authorities  on  beauty 
tell  me — well,  they  ask  me  for  sittings 
and  pay  well  for  them. 

"For  the  encourage- 
mentit  ought  to  be  to 
others  I  willrelate  the 
whole  story  of  how 
plain  Me  —  an  'Ugly 
duckling' — became  a 
a  model  for  magazine 
covers. 

"When  I  first  came  to 
New  York  City  to 
take  a  position  I  was 
too  busyto  give  much 
time  or  thought  to 
'beautifying.'  Besides 
all  my  efforts  in  the 
the  past  had  gained 
me  nothing.  Com- 
plexion treatments? 

I  had  tried  a  score;  and  my  pores  had  S°ffi£2g<> 
grown  steadily  coarser.  I  used  to  do 
everything  anyone  would  advise  for 
wrinkles  —  and  the  wrinkles  stayed. 
I  knew  loads  of  people  who  had  had 
success  with  things  for  the  hair — but 
none  seemed  to  give  my  sparse  locks 
any  health  or  sparkle. 


Artists  Pay  to  Paint  Her  Likeness  and  Her  New 
Was  Won  in  Three  Months 


Beauty 


wrinkled  condition  disappeared.  Her 
method  with  hair  was  to  revitalize  it 
— and  so  on. 

"I  was  elated  with  even  with  the  first 
week  of  my  newly  found  beauty  plan. 

Artists  Atknowl-  X 
edge  Her  Beauty 


"But  I  soon  saw  that  beauty  counted 
in  a  large  publishing  office  quite  as 
much  as  at  parties  or  dances.  Within 
a  year  my  employers  filled  three  secre- 
tarial positions  with  women  I  knew 
were  scarcely  as  well  equipped  as  I — 
except  in  looks!  Then  I  concluded 
I  would  make  myself  attractive  in 
appearance  if  it  took  every  dollar  I 
earned.  My  first  thought  was  beauty 
parlors,  but  a  fortunate  circumstance 
put  a  vastly  better  beauty  plan  in  my 
own  hands.  I  met  a  girl  who  told  me 
of  a  woman  who  had  devoted  years 
to  working  out  a  regular  beauty  sci- 
ence. She  worked  on  skin  structure 
instead  of  on  the  surface;  she  did 
nothing  to  wrinkles  themselves  but 
changed  the  facial  contours  and  the 


I  never  have 
seen  its  origi- 
nator to  this 
day.  She  does 
not  see  anyone 
—  just  advises 
and  directs 
hundreds  who 
seek  her  direct  methods  of  cultivating 
natural  beauty.  I  wrote  her,  got  her 
instruction^  did  as  directed,  and  in  a 
few  weeks  the  altered  glances  of 
friends  and  associates  confirmed  what 
my  mirror  told  me.  I  no  longer  needed 
to  feel  sensitive  about  my  appearance! 
Then  came  the  day  Greiner,  the  artist, 
asked  how  I  would  like  to  sit  for  a 
''head"  on  a  magazine  cover'. 

"I  could  scarcely  wait  for  the  Satur- 
day when  the  picture  of  me  would  be, 
published.  When  the  magazine  did 
appear,  can  you  blame  me  for  mailing 
several  copies  to  my  home  town,  and 
marking  the  covers  'This  is  me.'  I 
knew  they  would  doubt  that  the 
portrait  was  mine — or  else  accuse 


the  artist  of  using  a  vivid  imagina- 
tion. So  I  made  my  old  home  a  visit. 
Wouldn't  you  have  done  the  same? 
And  I  gloated  some,  too,  as  folks 
were  forced  to  admit  that  the  face 
on  the  cover  was  Gertrude  Follis. 
My  'new'  face  has  since  been  used 
for  many  illustrations.  But  I'll  never 
feel  prouder  or  be  more  thrilled  than 
that  day  at  the  station  when  my 
father  hesitated  as  I  emerged  from 
the  train — then  came  forward  and 
stammered,  'As  I  live,  it's  true!'" 

The  methods  with  which 
Miss  Follis  obtained  such 
remarkable  results  in  cul- 
tivating personal  attrac- 
tiveness are  available  to 
anybody,  anywhere.  A 
Chicago  woman  has 
learned  how  to  bring 
any  type  of  skin  to  nor- 
mal color  and  fineness, 
I     how  to  rejuvenate  sag- 
ging tissues,  and  en- 
hance one's  looks  in 
many  ways.  She  tells 
how  to  do  it,  and 
what  to  use.  Her 
name  is  LUCILLE 
YOUNG,  and  her 
offices  are  in  Chica- 
go. The  way  to  be- 
come acquainted 
with  her  astonish- 
ingly successful 
beauty  methods 
is  to  write  for  her 
remarkable  book 


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ty  Yours."It  re- 
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Returns  a  Pretty  Girl 


LUCILLE  YOUNG 

Room  354  Lucille  Young  Bldg.,  Chicago 

Please  send  me,  by  return  mail,  your  Free 
Booklet  "MAKING  BEAUTY  YOURS". 


Name. . . 
Address. 


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Every  Underwood  we  sell  is  rebuilt  just  like  new.  It  Is  dlfr 
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offer,  without  obligation  on  my  part. 

NAME  

STREET  

CITY  STATE  


chin 


SCREENLAND 
The  Friendly  Stars  of  Hollywood- 


fident  that  they  will  find  children 
vending  hypodermic  needles  and 
"hop"  on  the  Boulevard.  They  be- 
lieve that  their  entry  into  a  Holly- 
wood cafe  will  be  heralded  with  an 
avalanche  of  serpentines,  a  volley  of 
popping  corks  and  a  display  of  in- 
timate feminine  apparel. 

They  believe  that  "joy-riders" 
pass  a  given  point  in  Hollywood  on 
a  schedule  of  every  other  five 
minutes  and  that  personal  assaults, 
arson,  mayhem  and  murder  enliven 
what  would  otherwise  be  quiet  Cali- 
fornia nights.  A  mere  kidnapping, 
they  have  been,  led  to  believe,  would 
pass  unnoticed,  not  even  causing  a 
corner  cop  to  stifle  a  yawn  in  order 
to  toot  his  shrill  police  whistle. 

I  know  that  Hollywood  is  as  sound 
as  a  nut  at  the  core.  The  film  capi- 
tal is  like  any  other  American  city 
in  some  respects  and  quite  unlike 
the  others  along  certain  lines,  say 
m  the  matter  of  the  helping  hand  and 
a  sympathetic  smile. 

There  is  not  a  city  in  the  country 
which  does  not  boast,  yes,  boast  of 
its  fast  and  smart  set.  Hollywood 
also  has  its  smart  set,  but  investiga- 
tion reveals  that  it  is  composed  of 
the  fringe  of  the  charmed  cinematic 
circle,  hangers-on  who  have  come  to 
Hollywood  to  exploit  the  gullible. 

There  are  a  lot  of  plucky  and 
pretty  young  things  here  attempting 
to  force  the  cinema  gods  to  recognize 
the  ability  they  feel  they  possess. 
And  some  of  these  girls  are  weak, 
pitifully  weak.  Their  funds  run  low. 
Their  pride  will  not  allow  them  to 
return  home  without  the  laurels  of 
success. 

Then  the  jackals  sneak  in.  Trag- 
edy follows  and  the  newspapers 
carry  another  story  of  "Movie 
Actress  Murdered  in  Hollywood 
Love  Nest." 

Genuine  inhabitants  of  the  land 
of  Cameradia  play  hard  and  work 
hard.  Their  salaries  are  goodly  and 
they  spend  them  freely.  Practically 
all  of  the  successful  ones  knew  lean 
clays  at  the  beginning.  Creature 
comforts  of  the  present  can  never 
efface  the  hardships  of  the  past  in 
any  walk  of  life.  They  just  allow 
one  to  appreciate  them  the  more. 

But  the  charming  thing  about  the 
prominent  cinema  characters,  practi- 
cally without  exception,  is  their  will- 
ingness to  help  the  other  fellow,  the 
ambitious  youngster  or  some  deserv- 
ing "down-and-outer"  along. 

I  have  seen  a  sterling  example  of 
this  charity  and  I  know  that  the 
majority  of  the  movie  great  Avill 
give  their  shirts  and  throw  in  extra 


continued  from  page  25 

buttons  if  they  believe  they  can 
genuinely  help  and  not  for  publicity 
purposes  either. 

Last  Spring  an  ambitious  collec- 
tion of  young  medical  students  work- 
ing their  way  through  college  deci- 
ded to  band  together  for  the  good 
of  the  whole ;  so  that  the  expensed 
incident  to-  education  might  be  more 
easily  borne. 

They  leased  a  house  near  their 
college  and  began  to  accumulate  the 
necessary  articles  of  furniture.  I 
happened  to  interview  Herbert  Raw- 
linson,  the  Universal  star  at  that 
time,  for  a  newspaper  upon  which  I 
was  working.  I  told  him  of  the  pro- 
ject, just  casually  and  without  any 
intention  of  gaining  his  co-operation. 

Herb  was  sitting  before  the  mir- 
ror in  his  dressing-room  at  the  "  IF ' 
retouching  the  "cop"  face  he  was 
then  using. 

He  dropped  his  stick  of  grease- 
paint and  whirled  in  his  chair  to  face 
me. 

"Gee!  That's  great!"  quoth 
Herb.  "I  remember  when  I  was 
battling  to  get  an  education.  Ambi- 
tious boys  like  that  deserve  to  be 
helped. ' ' 

•  Herb  hesitated.  The  light  of  an 
instantly  formed  plan  shone  in  his 
eye. 

"I  know  what  I  shall  do,"  Herb 
declared.  "I  shall  furnish  a  room 
in  that  house  and  I'll  get  a  number 
of  my  friends  to  do  likewise.  Gim- 
me a  pencil." 

Straightway  Herb  did  some  figur- 
ing. Next  he  evolved  a  list  of  names. 
Then  he  dug  out  his  check-book  and 
wrote  out  his  check  for  a  sum  I 
knew  he  could  well  ill  afford  at  that 
time. 

He  handed  over  the  check  with  the 
list  of  names  he  had  compiled. 

"Take  this  check  and  go  to  see 
these  people,"  he  said.  "I'm  sure 
they'll  want  to  get  in  on  this." 

I  looked  at  the  list,  It  held  the 
names  of  Pola  Negri,  Viola  Dana, 
Ruth  Roland,  Jacqueline  Logan, 
George  Melford,  the  director,  Wm. 
S.  "Bill"  Hart,  and  Harold  Lloyd. 

"Your  interest  will  surely  be 
appreciated,  Herb.  But  what's  the 
idea?  What  are  you  going  to  get 
out  of  it?"   I  queried. 

"Humph,"  grunted  Herb.  "I'll 
get  a  lot  of  satisfaction  out  of  it." 

That  was  that,  so  I  pocketed  the 
check  and  departed  to  call  on  the 
other  stars  named  in  the  list.  I  told 
each  one  what  Rawlinson  had  done 
and  of  the  collegians'  project. 

"I'll  furnish  the  kitchen,"  ex- 
claimed petite  Viola  Dana,  "for  I 


r 


SCREENLAND 


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IIIIIIIIIIIIIlllllllllllllllllllllllllllllllllllllIIIIIIIIIIIIIIIIIIIIIIIUIIIII^ 

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1 5.  University  of  Kansas 
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Chief  Engineer  Dunlap  /.  gZim 
American  School  S 

/ 


formation. 


Chief  Enolneer  Dunlap 
f    AMERICAN  SCHOOL 
*   Electrical  Division 

Dept.E-llSSDrexel  Av.  ABSthSt. 
CHICAGO.  ILLINOIS  ow,a*- 

free  book,  guarantee  of 
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Electrical  Division 
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J»  Name. 


'St.  No. 


CltV   Stnto 


^DUN  LAP  GUARANTEES  JOB- RAISE 


32 


SCREENLAND 


^ou  were  slender  too, 
when  you  were  ahride 

Your  memories  of  those  happy  days  picture 
a  graceful,  slender  girl — full  of  life,  full  of 
eagerness. 

What  has  become  of  her?  Has  she  taken  on 
weight — lost  her  girlish  figure — perhaps 
even  become  stout? 

How  needless  a  disaster !  You  can  regain  your 
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know  how  all  men  like  to  eat.  Have 
the  stuff  sent  out  and  send  the  bill 
to  me.  And  don't  let  the  news- 
papers get  hold  of  this.  They'd 
think  I  Avas  doing  it  for  publicity." 

"Eet  weel  gif  me  great  plezhure 
to  help  such  boys,"  was  Pola  Negri's 
answer.  ' '  I  remember  when  my  days 
were  not  zo  pleasant.  Do  whateffer 
you  think  I  should  do  an'  I  s'ail  pay 
zee  bills." 

Ruth  Roland,  known  the  breadth 
of  the  land  for  her  serial  escapades 
and  in  Hollywood  for  her  canniness 
in  buying  and  selling  real  estate  as 
well  as  for  her  trouping,  said  very 
little. 

"It's  a  great  idea.  You'll  have 
my  check  tomorrow,"  she  said. 

Jacqueline  Logan,  a  college  girl 
herself,  fairly  jumped  at  the  chance 
to  furnish  a  room  in  the  fraternity 
house,  for  such  it  Avas.  She  merely 
mentioned  her  intention  to  George 
Mel  ford,  the  big  Lasky  director,  who 
was  directing  her  at  the  time,  and 
he  inquired  if  he  was  not  down  on 
the  list  also. 

When  informed  that  he  was  so 
honored  he  wrote  out  his  check  and 
tried  to  drag  me  to  the  offices  of 
some  of  his  friends,  but  I  demurred, 
desirous  of  sticking  to  Rawlinson's 
program. 

Harold  Lloyd  simply  reached  for 
his  check-book,  and  Bill  Hart  did 
likewise. 

"I  like  to  help  boys  who  want  to 
help  themselves, ' '  Lloyd  stated.  ' '  Let 
me  know  if  there  is  anything  else 
I  can  do." 

"My  horse  donated  something  to 
a  farm  for  worn-out  horses  yester- 
day, and  I'm  doggoned  if  I'm 
going  to  let  him  beat  me,"  Bill  de- 
clared with  one  of  his  tight-lipped 
smiles.  "Let  me  know  if  I  can  help 
these  boys  at  any  time." 

And  the  deed  was  done.  A  four- 
teen-room  house,  capable  of  housing 
a  score  of  aspiring  youngsters  work- 
ing their  way  through  college,  was 
a  surety. 

Though  the  stars  specifically  re- 
quested that  their  charity  be  kept 
secret,  such  a  thing  is  impossible. 
Brass-plates  bearing  their  names  are 
above  the  doors  to  the  rooms  their 
generosity  made  possible  and  furnish 
inspiration  to  all  those  who  are  pro- 
fiting by  it.  Portraits  of  the  stars 
grace  the  walls  which  will  for  years 
be  monuments  to  their  kindness. 

This  is  just  one  instance  of  the 
generosity  of  the  movie  great".  There 
is  hardly  a  one  who  does  not  give 
and  give.  Many  utilize  the  com- 
munity chest  fund  idea  and  many 
are  voluntary  workers  during  the 


drive  which  is  held  each  year  in  Los 
Angeles. 

Much-maligned  Mabel  Normand  is 
noted  for  her  willingness  to  extend 
the  helping  hand.  Pola  Negri  is 
educating  a  number  of  east  side 
orphans.  Mae  Murray  is  an  ardent 
Avorker  for  the  HollyAVOod  hospital 
for  crippled  children.  To  enume- 
rate those  responsible  for  acts  of 
kindness  Avould  require  calling  the" 
roll  of  the  men  and  Avomen  Avhoru 
you  know  as  movie  stars. 

I  have  spent  several  years  in  and 
about  HollyAvood  and  I  know  it  fairly 
well.  There  is  less  cocktail-bibbing 
there  than  in  seAreral  other  nearby 
communities.  There  is  more  honest 
effort  and  purpose  than  there(  is 
anything  else. 

The  movie  great  work  hard  and 
play  hard.  They  are  entitled  to  it. 
Their  lives  are  deAToted  to  keeping 
fit  so  that  they  may  hold  their  public 
and  continue  to  Avork  hard  and  play 
hard. 

But  no  matter  Iioav  hard  they  work 
nor  hoAV  hard  they  play  they  ahvay< 
keep  one  hand  free  to  help  some 
one  else  and  the  best  part  of  it  is 
that  they  obey  the  Biblical  maxim 
and  do  not  let  the  right  hand  know 
the  kindly  deeds  of  the  left. 


\House  Peters'  netv  role  in  "Over- 
board" brings  him  to  the  screen 
for  the  first  time  as  a  millionaire 
yachtsman — and  lie  looks  the  part. 


Tfour  Own  Home  ' 


1 6  STAR  ACTS 

Fun  and  Entertainment 

Forthe  Entire  Family 

fr^r™?A.WOnderfUln-ey  wA*yr.t(*  at,tend  a  Broadway  show— without  moving 
Irom  jour  own  easy  chair!  A  show  that  every  member  of  vour  family  and  all 
lP«rtfcr-n*i?  wlll/PPlau?!  A  show  that  any  number  of  people  can  attend  for 
less  than  the  cost  of  a  single  seat,  in  the  popular  New  York  theatres.' 

SetTofS  ib°"»^»  1„vari1ty /?how  come.s  to  J'0"  in  the  torm  of  the  new  -National" 
set  of  16  'acts"  or  selections,  on  eight  full-size  ten-inch  double-face  Phono- 
graph records.  First  you  hear  a  screamingly  funny  monologue "  Next  you hear 
w^^  /d'bv'o':11:/1^  Pian.o  Trio.  Next  yol  hear  a^dreamyMa^ophote 
mw«i  ky  by.°"e  of,  the  greatest  artists  in  the  country.  This  is  then 
St  HaWaUan  Uk6lele         GuUar  ^-tionVt^t 

^H«SOO-n-  Sixteen  wonderful  acts— which  you  can  listen  to  at  your  own  con- 

Here's  What  This  Complete  Entertainment  Includes 


ACT  I 


Cohen  on  the  Telephone 

Comic  Monologue 
Monroe  Silver 
The  funniest  monologue  you  ever  heard 
Keeps   you  laughing   from   beginning  to 
end.    The  troubles  that  Cohen  has  will 
make  you  roar.    A  real  masterpiece. 

APT  li     Rubenstein's   Melody  in  F 
MU  I  9|  Violin,  Cello  and  Piano  Trio 
Played  by  National  Trio 

"Melody  in  F"  is  rightly  the  best  loved 
work  of  that  great  Russian  musician, 
Rubenstein.  You  will  sit  entranced  at 
its  delightful  rendition  in  this  record. 

APT  III       Erica  Wa|tz 

MU  I     III         Saxophone  Solo 
Rudy  Wiedoeft 

America's  premier  saxophonist  accom- 
panied by  full  orchestra  will  make  you 
marvel  at  his  skill  in  playing  this  beauti- 
ful waltz.  One  of  the  finest  acts  on  this 
program. 

APT  IV  Mahina  Malamalama 
Mill     1 1        Hawaiian  Guitars 

National    Hawaiian  Players 

Everybody  loves  to  hear  the  dreamiest  of 
all  musical  instruments.  The  National 
Players  render  this  favorite  Hawaiian 
melody  so  that  you  will  want  to  hear  it 
again  and  again. 


AGTV 


The  Owl  and  the  Pussy  Cat 

Male  Quartet 
Music    Lovers    Male  Quartet 

This  is  one  of  the  finest  quartet  selections 
ever  recorded.  You  will  want  to  hear  this 
simple,  humorous,  old-fashioned  selection 
over  and  over  again. 

iiPT  VI     Cohen  Buys  an  Auto 

MU  I    VI        Comic  Monologue 

Monroe  Silver 
Many    people    think    "Cohen    Buys  an 
Auto"  even  funnier  than  "Cohen  on  the 
Telephone."     It  will  do  more  to  chase 
gloom  than  anything  you  have  ever  heard. 

APTVII  Herd   Girl's  Dream 

HU  I  |||  Violin,  Cello  and  Piano  Trio 
Played  by  National  Trio 

An  inspiring  musical  treat,  masterfully 
arranged  and  beautifully  played  by  the 
accomplished  artists  of  the  National  Trio 

ACT  VIII    Xylophone  Solo 

Seymour  Parks 

The  Xylophone  has  always  been  one  of 
the  favorite  instruments  played  at  variety 
shows.  In  this  beautiful  selection  Mr. 
Parks  thrills  you  with  his  mastery  of 
the  instrument. 


ACT  IX 


ACT  X 


ACT  XI 


and 


-11 


Try  Them  10  Days  Without  Risk 

How  can  We  af£ord  tQ  giye  yoy  gixteen  superb  phono  h 
selections  for  only  $2.9 S?  Because  we  manufacture  these  rec- 
ords m  enormous  quantities,  and  sell  them  direct  from  the 
\  ^  SETS"  Rememb-  too,  that  National  Records  are 
guaranteed  to  be  satisfactory  to  you  in  every  respect.  That 
at  t  c'JItMr;  let  US  Send  you  this  complete  set  of  SIXTEEN 
■K A      SELECTIONS,  on  8  ten-inch,  double-face  record. 

£  k Zi  *y  W1*1'  Sen<3  n°  m°ney  nOW-  JUSt  mail  th*  coupon 
Z  «  ♦>  packa^e  arriv^  give  the  postman  $2,98 

RErn£™     ^  °entS  f°r  delivery  charges.     Then  TRY  THE  1 
.  If  you  are  not  completely  satisfied,  return  them 

W«n  '  6Very  C6nt  y0U  have  paid  wili  be  refunded.  I 

Man  the  coupon  NOW  before  these  sets  are  gone. 

National  Music  Lovers,  Inc. 

327  West  36th  St.         Dept.  54        New  York  City  I 


Aloha  Oe 

Hawaiian  Guitar 
Tenor  Solo 
National   Hawaiian  Players 
This  is  perhaps  the  most  famous  of 
Hawaiian    melodies.     Although  hundreds 
have  been  produced  since  this  was  com- 
posed none  can  compare  with  it.  The 
tenor  solo  adds  to  its  beauty. 

College  Medley 
Male  Quartet 
Music  Lovers  Male  Quartet 
Here  are  all  the  tuneful  songs  of  the 
big  colleges.  If  you  have  gone  to  college 
you  will  appreciate  these  songs;  if  not 
you  will  love  them  anyway. 

Listen  to  the  Mocking  Bird 
Whistling  Solo 
Margaret  McKee 
One  of  the  most  amazing  records  we  have 
ever  heard.  A  song  everybody  knows  ac- 
companied by  a,  beautiful  whistling  imita- 
tion of  the  mocking  bird.  You  will  never 
tire  of  this  record. 

ACT  XII  *RJSsT 

XT    ,        „  George  Hubbard 

No  type  of  song  is  more  popular  than  the 
old-fashioned  yodeling  song.  The  magic 
ot  Ueorge  Hubbard's  voice  will  thrill 
.vou,  as  will  the  beauty  of  this  selection. 


APT  VIII  Llewellyn  Waltz 
HUI    All  I      Saxophone  Solo 

Rudy  Wiedoeft 

You  will  never  be  satisfied  with  only 
one  saxophone  solo  by  Wiedoeft,  so  we 
have  added  Llewellyn  Waltz  which  will 
give  you  another  opportunity  to  hear  this 
great  artist. 

ACT  XIV  &a 

National  Comedy  Four 

This  is  the  most  popular  humorous  record 
ever  made.  No  matter  how  grouchy  a 
person  may  be,  we  defy  him  to  keep  from 
laughing  while  this  record  is  being  played. 

ACT  XV  h  Hil° Hula 

HU  I   Al        Hawaiian  Guitars 

National   Hawaiian  Players 

Here  is  another  famoui  Hawaiian  melody 
which  will  make  you  see  visions  ot  cw 
distant  island  possessions.  A  dreamv 
tune  that  will  captivate  you. 

ACT XVI  Tuc"Lin sjsy* 

National  Comedv  Four 

A  timely  comedy  on  the  radio  making 
un  of  a  man's  troubles  while  ■•tuning 


SEND  NO  MONIY-10%f7w/ 

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SCREENLAND 


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New  French  Discovery  Creates  Sensa- 
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would  be  a  good-looking  woman 
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not  carry  a  size  large  enough 
to  fit  you,"  or  "Don't  eat  this 
or  don't  eat  that,  it  will  make 
you  fatter."  No  more  puffing 
pains,  rheumatism,  or  tired  feel- 
ing. A  new  French  discovery  is 
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Amongst  hundreds  who  have  al- 
ready tried  this  marvelous  new 
way.  Madame  Elaine's  case  of 
350  West  31st  St.,  N.  Y.  C.  con- 
duces ycu  that  no  matter  how 
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foil  have  tried  before,  now  you 
can  be  relieved.  Her  case  was 
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she  was  getting  fatter,  until  one 
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Her  discovery  is  simple,  easy — nothing  magic  or  done 
overnight  but  a  steady  loss  in  weight  and  steady  gain  in 
strength,  health,  beauty  and  energy.  She  will  not  advise 
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ments as  she  has  found  all  of  these  absolutely  useless 
in  her  case,  but  if  you  will  carefully  follow  her  simple 
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dreds who  have  already  been  helped  to  slenderness  with 
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4F300 


When  Ronald  Colman  Kisses 

{Continued  from  -page  23) 

Colman  learned  in  a  man's  school, 
but  his  lesson  was  the  clearness  of 
a  girl. 

In  "The  Thief  in  Paradise,"  that 
perfect  picture  which  probably  you 
all  have  seen';  Mr.  Fitzmaurice.  the 
director,  told  this  young  soldier, 
now  in  immaculate'  clothes,  to  take- 
to  himself  the  lovely  lady  of  the  films. 
Doris  Kenyon.  The  play  had  run 
its  course,  so  he  told  his  leading 
man  to  register  that  he  loved  her, 
to  show  his  love  by  his  kiss. 

If  Ronald  Colman  is  really  in  love 
with  Doris  with  a  holy  wondrous 
love,  then  that  will  serve  for  an  ex- 
planation of  the  scene ;  but  we  hap- 
pen to  know  that  they  are  simply 
two  talented  players — impersonal, 
adept. 

No,  when  this  beautiful  woman 
comes  into  his  arms,  a  flower  blos- 
somed that  had  its  root  in  the  earth 
of  France.  When  his  hovering  lips 
sought  to  press  the  secret  of  adoring, 
joyous,  passionate  love  upon  the  ex-  - 
quisite  woman  in  his  arms,  it  was 
the  sincerity  of  a  soldier  that  gave 
this  salute. 

Throughout  the  years  it  has  been 
sung : 

"The  bravest  are  the  tenderest, 
The  loving  are  the  daring." 
We  have  heard  of  the  gripping, 
melodramatic  greatness  of  Barry- 
more,  we  have  seen  the  graceful  ar- 
rogant mastery  of  Valentino,  but  we 
also  have  seen  Ronald  Colman  fasten 
above  his  Mons  ribbon  the  badge 
of  magnificence  secured  with  just  a 
kiss.  But  it  brushed  against  the 
cheek  of  every  girl  in  the  world  and 
made  each  man  proud  of  his  heri- 
tage. 


<$Mr.  and  Mrs.  Jack 
Dempsey. 


SCREENLAND 

Tours 
Master 


85 


CICK  at  heart  the  trembling  girl  shud- 
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He  Looked ,  Like  Hackathor 
.  —continued  from  page  21 

ing,she  questioned,  "are  you  in  th 
movies  f ' ' 

"Ouch — Yes,  I'm  in  them," — 
' '  Sorry, ' '  she  interrupted. 
"Sorry  to  have  jabbed  you — now 
that  you're  in  the  Movies.  Must  be 
great  out  there.  Pretty  racy  crowd, 
eh?"  and  she  hurled  me  a  glance 
that  I  was  sure  would  take  with  it 
every  bead  of  mascara. 
"Not  any  more  hectic  there  than  at 
Punxatawney  or  Philadelphia  or 
anywhere  else.  Personally,  if  you  're 
interested,  I'd  say  that  about  95 % 
are  little  ole  domesticated  folks. 
People  who  work  harder  than  do 
any  other  professional  group  I 
know ! ' ' 

"Any  chance  for  a  girl  in  Holly- 
wood ? ' '  she  continued.  ' '  A  girl 
with  good  looks,  I  mean." 


•fljWw  York  has  had 
dainty  A nn  Penning- 
ton to  itself  long 
enough.  No<w  all  the 
world  mill  have  its 
chance  to  see  her  in 
"The  Mad  Dancer." 


SCREENLAND 


^Norma  Shearer  and 
George   K.  Arthur 
as   they    appear  in 
■     "Lady       of  the 
Night." 


"I  don't  believe  there  is  the  pre- 
mium in  beauty,  in  Hollywood,  that 
existed  at  one  time.  Girls  in  motion 
pictures  must  have  something  else 
on  the  ball  than  beauty — tho  beauty, 
anywhere,  is  no  handicap  ! ' ' 

"Confidentially,"  she  warmed, 
"isn't  it  a  little  fast,  'out  there,'  in 
spots?" 

"'Frankly,  when  I  first  saw  Holly- 
wood it  struck  me  as  being  the  place 
that  inspired  Gray  to  write  his 
graveyard  thing." 

"You  haven't  told  me  who  you 
are — " 

"Guess,"  we  sparred. 

She  swept  me,  curiously  at  first, 
then  more  studied.  I  expected  her 
to  get  up,  pat  her  hands  and  ejacu- 
late, "Bin  Tin  Tin." 

"What  pictures  have  you  played 
in?"  she  was  stumped. 

"Ever  see  'Merry  Go  Bound?'  " 
we  quizzed. 

"George  Hackathorne!''  she 
rather  breathed  the  actor's  name,  at 
the  same  time  riveting  her  gaze  upon 
me. 

Yes, ' '  I  softly  assured  her,  study- 
ing the  too-high  polish  of  my  naiis. 

"But  you  look  different  on  the 
screen — " 

"Yes,  so  many  people  tell  me. 
But  that,  my  dear,  is  the  trick  of 
being  an  actor,"  I  knew,  though, 
that  WE  didn't  fool  her  entirely. 
Deep-seated,  in  that  little  old  heart 
that  no  doubt  adored  the  real  Hacka- 
thorne, in  the  mind  I  had  not  "got- 
ten over,"  she  somehow  felt  that  I 
was — applesauce.   And  I  was ! 

The  one  time  I  went  over  big  hap- 
pened in  Kansas  City,  Mo. 

A  picture — "Judgment  of  the 
Storm" — in  which  Mr.  Hackathorne 
played,  was  being  shown  at  one  of 
the    city's   first-run   houses.  The 


theatre— The  Apollo — is  operated 
by  a  corking  chap,  a  Mr.  Pinkelstein. 

I  had  reason  to  want  one  of  the 
"stills"  (of  Mr.  Hackathorne)  and 
telephoned  the  Apollo.  Yes,  the 
manager  was  there,  the  girl  would 
call  him. 

"Who?  Who?— Oh!  Mr.  Hacka- 
thorne. Yes,  we've  got  some  'stills' 
handy.    How  many  do  you  desire?" 

"Just  one,  please,"  I  returned. 

"Where  are  you  now?"  asked  Mr. 
Pinkelstein.  ' '  Can 't  you  come  out — 
we'd  like  so  much  to  meet  you — " 

Here,  I  thought,  was  a  chance  for 
the  supreme  test;  and,  being  an 
adventurous  thing,  a  child  of  im- 
pulse, I  condescended:  "All  right 
— only  have  a  minute — I'll  hop  out 
in  a  taxi  and  give  you  a  hello — " 

Twenty  minutes  later  a  Yellow 
skittered  and  skidded  in  the  slush — 
and  yours  adventurously  hopped 
out.  Two  or  three  pairs  of  hands 
were  thrust  toward  me.  Honest  faces 
wreathed  in  smiles,  for  a  fine  little 
fellow  whom  they  had  learned  to 
love,  beamed  frankly.  I  was  taken 
in  tow  by  the  young  and  pleasant 
Mr.  Finkelstein  and  introduced  to  a 
score  of  others — this  included  a  very 
charming,  exceedingly  pretty, 
cashier.  She,  incidently,  might  have 
stepped  out  of  one  of  the  movies — 
she  is  that  radiant. 

My  fur  lined  coat,  spats,  derby  and 
diamonds — fooled  Mr.  Finklestein. 
But,  let  me  quickly  add,  they  were 
handicapped.  They  had  taken  me 
into  a  small  office;  and  I  had  the 
presence  of  mind  to  twist  quickly, 
first  to  one,  then  to  another.  That 
was  escaping  expose. 

"I'll  cut  into  one  of  the  reels," 
suggested  the  manager,  "if  you  go 
in  and  say  something." 

Down  the  aisle  we  went  and  on 


Broadwau 

Fox  Trots  ^SBS^ 

My 'Best  Qirl         Jfc    TMk^f  #C 

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Where's  My 

Sweetie  Hiding 
I'll  See  You  in 

My  Dreams 
Indian  Love  Call 
Too  Tired        SMe  and  The  Boy  Friend 

Vocals 

My  Kid—Lafflt  Off— Follow  the  Swallow 
Put  Away  a  Little  Ray  of  Golden  Sunshine 
Let  Me  Be  First  to  Kiss  You  Good  Morning 

Waltzes 

The  Pal  that  I  Loved — Honest  and  Truly 
I  Wonder  What's  Become  of  Sally 
A  Waltz  in  the  Moonlight  With  You 

They're  all  the  rage  in  New  York  —  these  16  lively, 
peppy,  brand-new  songs  and  dance  pieces.  We  offer 
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Port  Washington,  Wis. 
Send  me  on  10  days  trial,  your  16  Fox  Trots, 
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NOTE 

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to  the  stage.  The  manager  had  & 
surprise  for  the  patrons.  He  wanted 
to  share  the  surprise — "Meet  our 
friend  and  star,  Mr.  George  Eacka^ 
thorne!"  he  announced. 

My  stage  experience  stood  by.  I 
walked  to  center  stage,  took  off  my 
overcoat,  handed  it  to  the  manager, 
saying,  "Put  it  away,  Charlie,  now 
that  they've  seen  it  and  know  I've 
got  one—" 

The  folks  cut  front  giggled. 
I  prudently  assured  'em  that  my 
call  was  a  complete  surprise  to  My 
Friend  Mr.  Finkelstein — tliat  I  was- 
on  my  way  to  Europe  to  make  a 
picture,  but  that  I'd  bad  so  many 
nice  letters  from  Kansas  City 
people,  admirers,  friends,  tbat  I 
couldn't  resist  the  wisb  to  drop 
in  and  tell  them  so  in  person. 

Amid  thunderous  applause  I  hur- 
ried off-stage  and  up  the  side  aisle 
— I  perhaps  shook  500  hands  before 
getting  out  of  the  theatre.  And  if 
George  Hackathorne  thinks  he  "isn't 
made"  in  Kansas  City — well, 
George,  you  just  go  there  and  do 
your  stuff. 

As  for  pretence — you  can't  be 
a  pretender,  an  impostor,  and  get 
anywhere.  The  law  of  right  and 
wrong,  compensation,  won't  stand 
for  such  arrangement. 

In  my  particular  case — the  police 
stalked  me.  I  went  to  the  larger 
cities  ill  this  country  and  to  the 
hide-outs  of  Canada.  To  no  avail! 
The  story  of  my  'being  on  the  dodge T 
is  an  old  one  ;  and  the  finale  is  always 
the  same.    Apprehension.  Arrest. 

Today,  in  the  Washington  District 
Jail,  a  little  fellow  writes  you,  a 
chap  who  couldn't  resist,  a  chap 
who  hopes  that  another  fool  doesn't 
attempt  to  pose.  It  can't  be  done. 
You  always  make  the  grievous  mis- 
take when  you  try  to  pose  of  leav- 
ing out,  by  not  having,  the  extra 
letter  "i"— for  you  _  just  can't 
register  poise  when  posing! 
Believe  Me ! 


Halt  Work  on  Production. 

Production  of  "The  Half -Way 
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units  of  First  National,  has  been 
halted  due  to  the  sudden  illness  of 
Doris  Kenyon,  who  was  to  be  fea- 
tured in  the  picture. 

The  dav  that  Miss  Kenyon  was 
scheduled*  to  start  work,  _  she  was 
stricken  with  appendicitis  _  and 
rushed  to  the  Lexington  Hospital  In 
New  York,  where  she  was  immedia- 
tely operated  upon. 


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cut,  made  $20  in  a  few  spare  hours; 
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you.  Simply  write  your  name  and  address  on 
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THE  AMERICAN  PRODUCTS  CO. 


President  and  General  Manager 
Dept.   1191  Cincinnati,  Ohio. 


oanProductsCo. 
rTlbertW.Us,Pres.,^.nclnnatl)  Chio. 
,  Dept.    1191  0Be  cent  ot 

I  of  wtach  1 
I  »  week. 

I   «— 

.  Kame  **" 

'  Address  

1   V  Write 

,  (Print  or  V. 


90 


SCREENLAND 


play  your 

way  ahead- ' 


1EADING  profession- 
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tra choose  Conn  instru- 
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XI  Martin 


Cultivate  ^our  Musical  Tiump 

Conn  is  the  only  maker  of  every  instrument  for 
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now  for  Free  Book  "  Success  in  Music  and  How  to 
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C.G.Conn,Ltd.,  484  ConnBldg.,Elkhart,Ind. 


[YE 

Retain  their 
slerv.de  r  lines 
with  the 
01  90 


Go — continued  from  page  19 


Reducer 


R°LL° 


and 
vmfort 


THE  R°LL°  C2 

41  W.  THIRTY-THIRD  ST. 
NEW  YORK  CITY 


letic,  beautiful  figure.  Aided  by  the 
dozens  of  pictures  in  every  imagi- 
nable character  and  pose,  that  deco- 
rated the  walls  of  her  private  dress- 
ing room  at  the  Roach  studio. 

"Yes,"  I  answered  emphatically, 
' '  but  what  else  did  she  do  to  get  that 
way?" 

"Studied  with  Chalif  for  five 
years  in  his  New  York  school  for 
dancing, ' '  started  Mrs.  Sleeper,  who 
is  pleasantness  personified.  "That 
was  when  Mr.  Sleeper  held  an  ex- 
ecutive position  with  the  B.  F.  Keith 
circuit  and  he  used  to  take  Mar- 
tha ..  .  " 

"Back  stage  where  I  saw  Pavlowa 
and  all  the  famous  actors  and  ac- 
tresses, ' '  went  on  Martha,  determined 
to  tell  her  own  story.  "Then  when 
we  went  home  Daddy  made  me  a 
real  curtain  and  stage,  and  I  had 
shows  for  all  the  kids  in  the  apart- 
ment and  made  believe  that  I,  too, 
was  a  great  actress." 

Then  it  seems  that  Mr.  Sleeper 
was  advised  to  go  to  Santa  Barbara, 
California,  for  his  health.  Soon  the 
family  (which  includes  a  very  beau- 
tiful sister,  Annette,  two  years  Mar- 
tha's senior),  were  happily  located 
in  a  typical  California  bungalow. 

But  opportunity  was  beckoning 
from  Hollywood,  that  city  of  oft  mis- 


construed gestures.  An  exceptional- 
ly well  developed  child  of  twelve 
was  needed  for  a  part  in  "27ie  Mail 
Man."  Fate  decreed  that  a  relative 
of  the  Sleepers,  not  connected  with 
the  industry,  should  learn  of  this; 
he  promptly  advised  that  Martha  try 
for  the  part. 

"And  I  got  it  the  very  first  thing," 
bubbled  Martha,  now  the  irrepres- 
sible kid.  ' '  Then  Mr.  Sennett  want- 
ed me  .  .  .  and  oh  ...  it's  just  too 
wonderful  to  be  here  acting  with 
'Our  Gang'  and  the  'Spat  Family' 
and  all  the  others.  I've  been  in  a 
lot  of  rough  stunts  here,  but  it  is  fun 
because  I'm  not  afraid.  But,"  and 
there  was  a  straight  line  of  adult  de- 
termination around  the  pretty 
mouth,  "  I 'm  surely  going  to  do  real 
drama  some  day  soon. ' '  And  presto ! 
She  had  changed  in  a  second  from  a 
bubbling  kid  to  a  resolute  young 
lady. 

So  remarkable  and  convincing  are 
her  rapid  transitions  both  in  mood 
and  expression  that  it  is  perfectly 
safe  to  predict  that  Martha  Sleeper, 
now  aged  fourteen,  will  attain  the 
topmost  height. 

In  these  modern  days  there  is  no  • 
time  or  necessity  for  establishing  a 
background.   Our  new  generation  of 
potential  stars  has  to  work  fast.  Real 


Get  Rid 
of  Your 

Free  Trial  Treatment 

Sent  on  request.  Aslt  for  my  "pay-when- 
reduced"  offer.  I  have  successfully  reduced 
thousands  of  persons,  often  at  the  rate  of 
a  pound  a  day  without  diet  or  exercise. 
Let  me  send  you  proof  at  my  expense. 

DR.  R.  NEWMAN,  Licensed  Physician 

State  of  New  York.  28G  Filth  Ave.,   N.  Y.,  Desk 


will  be  paid  on  songs  found  suitable  for  publication. 
Submit  your  manuscripts  for  immediate  examination 
EQUITABLE  MUSIC  CORPORATION 
1658  3  Broadway        New  York  City 


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($  Gibson  Gotland  and  Snitz  Edivards 
are  seen  leading  the  mob  in  a  scene 
from  "The  Phantom  of  the  Opera." 


SCREENLAN  D 


91 


talent  must  kick  off  the  covers  and 
coo  in  the  cradle  to  be  in  demand  for 
pictures.  The  new  theory  is  that 
talent  not  shown  before  entering 
one's  teens  is  negligible. 

Much  as,  we  may  lament  this  fact, 
much  as  we  may  marvel  and  proph- 
esy, it  must  be  accepted.  Risky,  un- 
comfortable, unbelievable,  but  never- 
theless here  to  stay. 

Which  makes  youth— greedy,  cru- 
el, selfish,  encroaching  and  happy 
youth— the  greatest  asset  in  present 
day  pictures. 

As  can  be  proved  by  a  brief  page 
from  recent  screen  history. 

With  established  stars  of  envied 
experience  clamoring  for  the  part  of 
Peter  Pan,  who  was  selected?  Betty 
Bronson,  seventeen,  an  almost  un- 
known school  girl,  whose  only  knowl- 
edge and  ambition  had  been  for  mo- 
tion pictures. 

Mary  Brian,  a  year  younger,  came 
to  Los  Angeles  to  study  art.  She 
won  a  newspaper  beauty  contest  and 
was  chosen  for  the  role  of  Wendij  in 
"Peter  Pan"  with  nothing  to  offer 
except  screen  possibilities.  Long- 
time contracts  with  Paramount  have 
resulted  from  this  brief  experience 
for  both  these  girls. 

There  is  Alice  Day,  selected  from 
a  group  of  school  girls  to  play  the 
daughter  of  Norma  Talmadge  in 
"Secrets."  Now  she  is  playing  leads 
under  a  five-year  contract  with  Seii- 
nett  comedies  of  the  new  and  better 
type. 

Natalie  Kingston  ran  away  from 
the  Dominican  convent  at  San  Ra- 
fael, California.  A  brief  dancim* 
engagement  and  the  experienced 
coup  d'oeil  of  Mack  Sennett  landed 
her  to  play  opposite  Ben  Turpin  in 
a  travesty  on  "Romeo  and  Juliet," 
and  she  is  still  going  strong. 

Virginia  Lee  Corbin,  now  sixteen, 
has  been  nourished  on  picture  pab- 
ulum from  infancy  and  is  starting 
to  be  one  of  the  exploited  baby  stars 
of  1925.  As  are  Olive  Borden,  who 
arrived  via  the  convent  route  to  the 
Hal  Roach  studios;  Joan  Meredith 
making  her  debut  direct  to  screen 
by  a  beauty  contest;  Virginia 
Browne  Faire,  Jobyna  Ralston,  and 
others  ad  infinitum. 

Coming  down  a  little  in  the  pic- 
ture age  scale  we  find  real  juveniles 
hke  "Our  Gang"  from  the  Hal 
Roach  studios.  Not  to  forget  Jackie 
Coogan  and  Baby  Peggy,  who  have 
made  lasting  screen  history. 
-  In  fact,  it  almost  seems  that  there 
is  a  publicity  impetus  being  given 
prospective  screen  stars  of  the  gen- 
eration, cradle  bound  though  they 

We  are  all  pictoriallv  familiar 
with  the  Harold  Llovd  baby.  And  it 
is  well  known  that  the  Keaton  babies 


Choose  Your  Place 

in  this  Picture 

CHOOSE  your  place— and  step  into  it  in  a  few  weeks!  Through  our 
new  plan  you  can  learn  to  play  any  instrument  in  a  very  short  time 
1  hink  of  the  pleasure  it  will  bring  you.  You  are  always  popular— at 
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And  you  can  turn  your  ability  into  a  handsome  profit  if  you  wish.  Playing  a 
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New  Offer- 

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No  Creams— No  Baths— No  Diet— No  Exercise 

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t^George  O'Hara  came 
along  and  Alberta 
Vauglin  fell  for  him 
— and  noiv  they  are 
going  to  be  married. 


have  a  photographic  growth  record 
started.  Winifred  Westover  Hart, 
Lila  Lee  Kirkwood,  and  Leatrice  Joy 
Gilbert  are  all  publicly  proud  of 
their  babies'  picture  possibilities. 

Even  advance  publicity  for  the 
cinema  cradle  roll  seems  quite  comrae 
il  faut,  as  witness  Mrs.  Charles 
Chaplin's  announcement  of  the  ex- 
pected arrival  of  a  baby  star  next 
summer. 

Potential  screen  artists,-  every  one. 
Which  but  demonstrates  the  fact 
that  filmdcm  is  preparing  them  for 
the  camera  as  young  as  possible. 

And  Martha  Sleeper,  with  her  ver- 
satility and  maturity  at  fourteen, 
is  but  a  product  of  the  age  in  which 
we  are  living.  Just  an  ambitious  at- 
tractive girl-woman  Is  she,  who  will 
soon  be  able  to  say : 
"As  yet  a  child,  nor  yet  a  fool  to 
fame, 

I  lisped  in  numbers — and  the  num- 
bers came." 


Ben  Lyon  in  Canada. 

Ben  Lyon  is  finishing  work  on 
^  "The  Necessary  Evil,"  which 
George  Arehainbaud  is  directing  at 
First  National's  New  York  Studios, 
for  Earl  Hudson's  Eastern  units. 
He  will  start  later  for  Banff,  Canada, 
to  play  in  "Winds  of  Chance'2 
which  Frank  Llovd  will  direct. 


SCREENLAND 


93 


His  First  Story  Earns  a  Fortune — continued  from  page  17 


writers.    The  Elizabethan  Club  at 
New  Haven  is  an  old-fashioned  struc- 
!  ture  in  which  one  may  smoke  clay 
pipes,  gaze  at  a  contemporary  por- 
trait of  Queen  Elizabeth,  handle  first 
editions  of  Shakespeare,  and  carry 
on  violent  arguments  on  literature 
or  football.    There  you  could  -  find 
Philip  Barry,  whose  ' '  The  Young- 
est" is  now  playing  on  Broadway; 
Eichmond  Brooks   Barrett,  whose 
novel,   "Rapture,"  was  published 
last  season ;  Britton  Hadden  and 
Harry  Luce,  editors  and  proprietors 
|c#  "Time,  Inc.";  Robert  McClure, 
:|a£  whose   story,    "The  Dominant 
Blood,"  Booth  Tarkington  has  such 
high   praise ;   Wells   Root  (whose 
movie   criticisms   you   have  often 
read)  ;  Max  Foster,  Tom  Chubb,  and 
Alfred  Bellinger,  all  of  whom  have 
published  volumes  of  verse ;  Walter 
Millis,  now  an  editorial  writer  for 
' '  The  Tribune, ' '  and  many  others  a 
trifle  older  or  a  little  younger.  This 
outburst  of  writing  talent  worried 
some  of  the  graduates,  who  feared 
that  Yale  would  never  regain  her 
athletic  supremacy,  and  when  it  be- 
came known  that  the  great  "Mac" 
Aldrich,  then  Captain  of  football  and 
baseball,  hero  in  more  ways  than 
e,  was  actually  a  member  of  this 
literary  club,  the  wise-acres  raised 
their  hands  in  horror.  The  bulldog 
was  in  danger  of  being  shorn  of  his 
teeth!    You  couldn't  expect  young 
men  to  read  Elizabethan  literature 
and  score  a  touch-down.  However,  as 
vou  may  or  may  not  have  noticed, 
ithe  blue  teams  have"  survived  such 
influences. 

[  When  he  left  Yale,  Hume  did  not 
immediately  take  a  job.  For  a  time, 
ic  wandered  about  trying  to  decide 
vhat  was  the  best  course  for  a  young 
nan  with  a  great  deal  of  vitality 
>nd  a  desire  to  write.  Now  there  are 
ots  of  young  men  and  women  who 
rant  to  write  !  They  often  drift  into 
ny  office,  in  numbers  as  great  as  ten 
;r  twelve  a  day.  They  ask  for  ad- 
vice, and  quite  humbly,  for  one  can 
>nly  analyze  the  field  for  them,  I 
rive  it.  For  the  most  part,  they 
hink  I 'm  crazy  when  I  say :  ' '  Don 't 
:o  into  publishing,  or  a  magazine 
ffice,  or  review  books,  or  do  any- 
hing  that  is  mildly  'literary' — that 
=i,  not  if  you  want  to  succeed."  I 
ave  a  particularly  soft  spot  in  my 
eart  for  "Cy"  Efrime,  because  he 
nee  came  for  advice,  and,  strange 
b  say,  took  it.  I  don't  claim  any 
red  it  for  the  results.  Hume  would 


probably  have  written  ' '  Wife  of  the 
Centaur"  if  he'd  gone  into  a  bank 
or  a  bakery.  What  1  told  him  was, 
"Get  a  job  as  a  reporter.  It's  the 
quickest  way  to  recover  from  col- 
lege. Then,  if  you  want  to  make  an 
immediate  impression  in  the  writing 
game,  sit  down  and  write  a  novel!" 

Hume  got  a  job  on  the  New  York 
World,  and  in  spare  hours  —  and 
spare  they  were,  for  he  was  a  cub — 
started  has  book. 

Meanwhile,  at  Vassar,  a  young  la- 
dy was  writing  poetry,  and  it  was 
being  published  in  the  literary  mag- 
azine there.  However,  that  comes 
in  later  in  the  tale. 

Reporting  did  not  irk  Hume.  He 
enjoyed  it  and  was  pretty  good  at 
it;  but  the  urge  to  create  was  too 
strong.  He  was  jealous  of  the  time 
spent  away  from  his  novel.  He 
turned  out  a  number  of  poems. 
Some  of  these,  I  remember,  he  sent 
to  me  at  the  time;  that  they  were 
not  printed  doesn't  mean  that  they 
weren't  good.  I  don't  remember. 
Probably  they  weren't.  One  day  he 
came  into  the  office.  ' '  I  want  to  fin- 
ish my  novel,"  he  said.  "Do  you 
think  it  would  be  foolish  to  give  up 
my  job  and  go  away  to  finish  it? 

If  he  wanted  to  finish  his  novel  as 
badly  as  that,  his  job  would  suffer, 
so  I  naturally  advised  him  to  do 
exactly  what  he  chose.  He  did.  I  '11 
be  back  with  the  manuscript  in  three 
months,"  he  said.  Do  you  see  what 
I  mean  by  well-directed  work? 
Hume  didn't  moon  around  waiting 
for  inspiration.  He  knew  exactly 
what  he  was  after,  and  he  accom- 
plished it.  In  three  months  he  came 
back  with  a  large  box  under  his  arm. 
It  was  a  beautifully  bound,  typed 
copy  of  "Wife  of  the  Centaur."  It 
did  not  take  us  long  to  recognize  its 
merits.  It  was  accepted  for  publica- 
tion. One  week  after,  publication 
Metro-Goldwyn  had  offered  the  boy 
$25,000  for  it.  The  public  immedi- 
ately recognized  that  here  was  a 
story  of  youth,  as  vivid  as  "This 
Side  of  Paradise,"  yet  totally  dif- 
ferent in  spirit.  The  beautifully  writ- 
ten story  of  youth's  ideals  strug- 
gling against  the  flesh,  which,  after 
all,  is  the  strongest  and  commonest 
of  fights,  and  the  most  appealing. 

At  this  point  in  his  career  this  ex- 
traordinary youth  again  proved  his 
sanity.  There  were  many  circles  in 
New  York  City  ready  to  fete  him, 
anxious  to  meet  him.  When  he  had 
left  the  "World"  to  write  his  book, 
he  had  gone  to  his  family  at  New 


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94 


SCREEN  LAN  D 


Classic  Development  of  the  Bust 

YOUR  WOMANLY  BEAUTY  can  be  developed.  The  secret  of  woman's 
charm  is  a  beautiful,  fully  developed  figure — a  bust  like  sculptors  carve  in 
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that  she  be  thus  perfectly  developed. 

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some and  right  that  a  woman  should  be  physically  charming  and  attractive, 
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their  presence.  Physical  beauty  can  be  cultivated,  for  the  body — plastic  like 
clay — will  respond  to  the  application  of  nature's  laws  to  a  degree  little 
dreamed  of  by  the  average  person.  There  is  always  a  way  to  accomplish 
the  tilings  that  are  wholesome  and  right,  and  since  it  is  perfectly  natural 
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duce such  development  with  the  right  method. 

Motion  Picture  Actress  Delighted 

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REAL  PHOTOS 

OF  YOUR  SCREEN  FAVORITE 

Just  mention  names  of  the  ones  you1  want.  I  have  them  all, 
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Milford,  Connecticut,  and  had  spent 
what  he  then  called  the  three  hap- 
piest months  of  his  life.  ' '  For  exer- 
cise I  shoveled  snow,"  he  said,  "of 
which  there  was  at  all  times  any 
quantity  lying  about;  for  stimula- 
tion I  drank  tea  and  read  the  works 
of  Messrs.  Hugo,  Irving,  Thackeray 
and  Harte ;  and  for  nine  hours  a 
day  I  sat  between  two  oil  stoves  in ... 
the  attic  of  the  farmhouse  where  I 
lived  and,  with  my  feet  wrapped  in 
an  old  overcoat,  wrote. ' '  Here  again, 
with  his  success  calling  him  to  play, 
he  went  again,  and,  surrounded  by 
some  of  his  old  friends,  celebrated. 
Not  long  before  this,  a  short,  dark, 
energetic  young  lady  had  come  into 
the  offices  of  the  George  H.  Doran 
comp-any  and  applied  for  a  position. 
She  was  so  obviously  ambitious,  and 
her  knowledge  of  literature  seemed 
so  good,  that  she  was  hired  as  a 
reader  of  manuscripts.  One  day  she 
rushed  into  my  room  with  a  poem. 
' '  Just  wrote  this.  Will  you  print  it  ?  " 
she  gasped.  I  read  it.  "I  will, ' '  said 
I.    Jane  Barbara  Alexander  is  a 
young  lady  with  a  purpose.   She  did 
her  work  faithfully,  and  in  every 
spare  moment  when  she  wasn't  play- 
ing tennis  or  golf,  or  dancing,  she 
wrote   poems,   mostly  love  poems. 
When  Mr.  Hume  wrote  poems,  they 
were  love  poems,  too.  Just  who  the 
objects  of  these  effusions  were,  I  did 
not  know.    Somehow,  I  suspected  a 
certain  shifting  of  subject ;  for  al- 
though I  have  drawn  my  picture  of 
these   two  young  people  as  very 
steady  and  hard-working,  they  were 
not  without  a  certain  sparkle  in  the 
eye,  and  I  am  sure  that  they  were 
both  popular  as  dancing  partners, 
and  as  companions  for  any  lark 
where  youth  and  gayety  are  re- 
quisites. 

It  must  have  taken  a  certain 
amount  of  bravery}  for  a  girl  to 
marry  the  author  of  so  strenuous  a 
book  as  "Wife  of  the  Centaur." 
True,  its  author  had  repeatedly 
affirmed  that  it  was  not  autobio- 
graphical ;  yet  even  so,  many  girls 
would  have  paused  for  thought. 
Not  so  Miss  Alexander.  Shortly 
after  they  ]met,  th|ese  twoj  young 
literateurs,  they  were  married. 
What  would  they  do,  their  friends 
asked.  Would  their  temperaments 
and  careers  clash  1  Would  they  stay 
in  New  York's  whirl,  being  praised 
and  dined?  Would  they  retire  to 
the  country  solitudes  of  New  Mil- 
ford? 

Why  should  their  temperaments 
clash,  after  all  ?  True,  they  both 
write  poetry;  but  Miss  Alexander 
has  not  attempted  prose,  and  the 
critics  would  tell  her  that  while  her 


husband  is  a  successful  novelist,  she 
writes  far  better  poetry  than  he  has 
ever  composed,  poetry  with  a  touch 
of  fantasy  and  a  gamin,  impudent 
note  that  gives  it  great  charm.  Why 
should  they  stay  in  this  country, 
when  money  would  go  so  much  fur- 
ther in  Europe?    A  question  easily 
answered.   They  wouldn 't.   Off  they 
sailed  for  Italy  immediately  after 
| their  marriage,  where  they  purchased 
|  an   old   Italian   villa,    Villino  La 
|Massa  at  Candeli  near  Florence,  in- 
stalled a  servant  or  two,  a  couple  of 
^typewriters,  and  proceeded  to  get  to 
work  again. 

Friends  travelling  in  Italy  bring 
word  of  them  as  being  industrious 
'and  happy.  From  both  I  have  had 
poems,  and  have  published  examples, 
still,  curiously  enough,  on  the  old 
theme,  in  "The  Bookman."  On 
schedule  arrived  the  manuscript  of 
Mr.  Hume's  second  novel,  a  story 
pf  the  struggles  of  a  sensitive  youth 
j(io  gain  poise  and  sanity,  in  spite  of 
in  unfortunate  up-bringing.  It  will 
miaze  readers  of  the  first  story.  It 
js  totally  different.  Many  consider 
t  a  more  mature  piece  of  work. 
?ome  find  it  a  trifle  shocking.  At 
jmy  rate  it  was  written  with  the  same 
steady  force,  and  the  same  great 
|'itality.  Hume  has  turned,  also,  to 
he  short  story,  and  his  work  is  ap- 
pearing in  various  of  the  great  popu- 
lar monthlies. 

Success  goes  to  youth's  head? 
'hat's  a  dangerous  generalization, 
"an  you  name  me  many  older  and 
iser  people,  to  whom  great  luck 
uch  as  this  has  rewarded  hard  work, 
ho  have  met  it  with  so  much  sanity  ? 
tyril  Hume  can  scarcely  fail  to  go 
nward  greater  things.  He  allows 
othing  to  interfere  with  his  dreams, 
nd  he  does  not  spend  much  time  re- 
reaming  them  when  they  are  vision- 
1.    He  makes  them  real.   While  he 

the  most  striking  example  of  good 
u-tune  among  onr  young  literary 
en,  he  also  seems  to  me  to  be  the 
°||  exemplar  of  that  good  old  New 
ngland  virtue,  common  sense ! 


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Popular  Pictures  Are 

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AMERICA 

OI<  THE  SACRIf.JjTE: 

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THE  SHOOTING 
OF  DANK?  GREW 


of thewlV 


JUST  recall  the  ten  best  moving  pictures  you  have  either  seen 
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I  HE   SEA   HAWK  Rafael  Sabatini 

THE  COVERED  WAGON  Emerson  Hough 

^?^1IEUR    BEAUCAIRE   Booth  Tarkington 

THE  TEN  COMMANDMENTS  Henry  MacMahon 

SCARAMOUCHE   Rajael  Sabatini 

/ANICE   MEREDITH   Paul  Leicester  Ford 

DOROTHY  VERNON  OF  HADDON  HALL   Charles  Major 

™   Robert    W,  Chambers 

SUNDOWN    Hudson-Eberkardt 

WANDERER  OF  THE  WASTELAND  Zane  Grey 

^NHANDLED   Arthur  Stringer-Russell  Holman 

THE  SHOOTING  OF  DAN  McGREW   ..Jarr.es  J.  Tynan 

YOLANDA    CharUs  Ma- 

BEING  SSe "Zn'crSZ 
BEING  RESPECTABLE   Grace  H  piandrau 

LOVE  INSURANCE  (The  Reckless  Age)  Earl  Derr  Biggers 

ANOTHER  SCANDAL   Cosmo  Hamilton 

I  HE  SALAMANDER  (The  Enemy  Sex)  ;  0wen  Johnson 

MERTON  OF  THE  MOVIES  Harry  Leon  Wilson 

THE  MOUNTEBANK  (The  Sideshow  of  Life).  .'.   Wm   J  Locke 

THE  JUDGMENT  OF  THE  STORM  7.7.7..  Joy  Mason 

WILD  ORANGES   Joseph  Hergesheimer 

LI  PILE  OLD  NEW  YORK  Rida  Johnson  Young 

THE  DAWN  OF  A  TOMORROW  Frances  Hodgson  Burnett 

A  GIRL  OF  THE  L1MBERLOST  Gene  Stratton-Porter 

THE   PLUNDERER   ,  R  Noflon 

LEATHERSTOCKING  7  George  A.  Gray 

THE  BREATH  OF  SCANDAL  Edwin  Balmer 

WESTOF  THE"  WATER  TOWER:  \ \  '.  7  \  \  '.  \ 7.7. 7.7. 7.7.7.7  7/  ^oJeTcrl'y 

IF  WINTER  COMES  A.' S.  M.  Hutchison 

THE  WAY  OF  A  MAN  Emerson  Hough 

THE  HERITAGE  OF  THE  DESERT   Zane  Grev 

FT^tSPYSFTSX/SS?'1  Cal1  11  Love) .....'.'.Julian  Street 

A*,L-£9Y  OF   QUALITY  Frances  Hodgson  Burnett 

IN  THE  PALACE  OF  THE  KING  F.  Marion  Crawford 

UNDER  THE   RED   ROBE  Stanley  J.  Weymau 

THE    SPANISH    DANCER   Victor  Hugo 

THE   CHEAT    Turnbull-Holman 

LET  NOT  MAN   PUT  ASUNDER  J}"-"  A Z 

THE   VIRGINIAN   ' '    o'wen    Wi  er 

POTASH   AND   PERLMUTTER   MonTague  Glass 

RUGGLES  OF  RED  GAP   HarrV  Leon  miton 

THE  ETERNAL  CITY    ....  S  HallCaZ 

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CAPE   COD  FOLKS  Sarah  Greene 

T?rE^°.SIER  SCHOOLMASTER  Edward  Egeleston 

THE   CHRISTIAN    Hall  Caine 

THE  COMMON  LAW   Robert  W.  Chambers 

THE  PRISONER  OF  ZENDA  Anthony  Hope 

RUPERT  OF  HENTZAU  Anthony  Hope 

FIGHTING  BLOOD   H    C  Witwer 

THE   TURMOIL   Booth  Tarkington 

THE  LONE  STAR  RANGER  Zane  Grev 

MAIN  STREET   Sinclair  Lewis 

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TO  THE  LAST  MAN   Zane  Grev 

WHEN  KNIGHTHOOD  WAS  IN  FLOWER  Charles  Maior 

THE   RUSTLE  OF   SILK  Cosmo  Hamilton 

MICHAEL  O'HALLORAN   Gene  Stratton-Porter 

THE  FLIRT   Booth  Tarkington 

ROBIN  HOOD   J.   Walker  McSpadden 

THE  RAMBLIN'  KID  Earl  Wayland  Bowman 

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THE  CLANSMAN   .Thomas  Dixon 

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Book 


s~  THE  TEN 
(OMMANDMENTS 

m 


J\NKI  MEREDITH 

Vf  PAUL  LEICESTER  FORD 


MVIES  EDITION 


<3/\Y 


b 


a* 


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val  at  Cannes, at  Nice  on  the 
sunnyRivieraorin  Paris, one 
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mutable  of  the  fashionable 
toilette:  "On  ne  melange-pas 
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ROUGE  &  LOOSE  POWDER 


Canity 


)  A.  H.  S.  Go.  1925 


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powder,  with  ingenious  "pow- 
der pockets"  that  release  just 
enough  powder  on  the  puff  each 
time  you  open  the  case. 

And  a  double-faced  mirror!  On 
one  side  a  detail  mirror  reflects, 
in  close-up,  any  part  of  the  face. 
On  the  other  side  a  reducing 


mirror  reflects  your  entire  face 
at  a  glance,  so  that  you  may 
view  the  general  effect  achieved. 

This  new  Djer-Kiss  Rouge  and 
Loose  Powder  Vanity  is  exqui- 
sitely fashioned  of  nickel-silver 
—its  cover,  artistically  embossed. 
Each  vanity  comes  in  its  own 
silken-lined  box. 

Send  25c  for 
<_yWoNsiEUR  /Cerkoff's  TS[ew 
Champs  Sly  sees  Paquet 

Monsieur  KerkofF s  new  Ckamps-Elysees 
Paquet  of  toiletry  treasures  contains  dainty 
samples  of  Djer-Kiss  Parfum,  Djer-Kiss 
Face  Powder,  Djer-Kiss  Cold  Cream  and 
Vanishing  Cream  in  tubes1  and  a  fragrant, 
miniature  satin  Sachet  Pillow.  To  receive 
it,  simply  send  25c  in  stamps  or  coin  to  his 
importateurs,  Alfred  H.  Smith  Company, 
30  West  34th  Street,  New  York,  N.  Y.